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 17917594; Wed, 09 Feb 2005 03:00:50 -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 #290 Date: Wed, 09 Feb 2005 03:00:36 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #290 1. Re: Source for architectural columns by "Christopher K. Nimm" 2. Re: Source for architectural columns by "Jonathan S. Deull" 3. Re: Lockable rope locks by "Stephen E. Rees" 4. Re: Source for architectural columns by "Stephen E. Rees" 5. Rope Lock/Brake by "Eccleston, Mark" 6. Re: Rope Lock/Brake by "Delbert Hall" 7. Re: Rope Lock/Brake by "Stephen E. Rees" 8. Re: Source for architectural columns by Greg Bierly 9. Re: Rope Lock/Brake by Greg Bierly 10. NEW GROUP - Stagecraft Remote Control Lights & Motion by "James Smith, www.theatrewireless.com" 11. Re: Rope Lock/Brake by "Dr. Randall W.A. Davidson" 12. Re: Lockable rope locks by "Dr. Randall W.A. Davidson" 13. Re: Rope Lock/Brake by "Dr. Randall W.A. Davidson" 14. Re: Rope Lock/Brake by "Dr. Randall W.A. Davidson" 15. Re: Portable Audience Seating by Stephen Litterst 16. Re: Rope Lock/Brake by "Waxler, Steve (waxlers)" 17. Re: You know it's going to be a bad show day when.... by Greg Persinger 18. Re: Source for architectural columns by mo 19. Re: Portable Audience Seating by "Scott Boyle" 20. Re: Welding Shop Equipment by Stuart Wheaton 21. Re: Super Bowl Intermission by Christopher Haas CEHAAS 22. Re: You know it's going to be a bad show day when. by "Karl G. Ruling" 23. Re: You know it's going to be a bad show day when.... by "ladesigners [at] juno.com" 24. Clear-com interfacing? by "C. Dopher" 25. Re: Source for architectural columns by "ladesigners [at] juno.com" 26. Re: Super Bowl Intermission by Mike Brubaker 27. Re: You know it's going to be a bad show day when.... by "Dr. Randall W.A. Davidson" 28. Re: You know it's going to be a bad show day when.... by "Joshua Webb" 29. Re: lime light by "Karl G. Ruling" 30. Re: Super Bowl Intermission by "Joshua Webb" 31. Re: You know it's going to be a bad show day when. by "Storms, Randy" 32. Re: Super Bowl Intermission by Brad Spachman 33. Re: Super Bowl Intermission by Mike Brubaker 34. Re: Super Bowl Intermission by Stuart Wheaton 35. Re: Super Bowl Intermission by "Bob Robins" 36. Re: Clear-com interfacing? by Dale Farmer 37. Re: Source for architectural columns by "Paul Schreiner" 38. Re: Super Bowl Intermission by Samuel Jones 39. Re: You know it's going to be a bad show day when. by usctd [at] columbia.sc 40. Re: Super Bowl Intermission by "Delbert Hall" 41. Re: lime light by IAEG [at] aol.com 42. Re: You know it's going to be a bad show day when.... by "Jason" 43. carbon filament lamps by Fred Fisher 44. Scrollwork material ideas by "Paul Schreiner" 45. Suit of Armor by Karen Archibald 46. Re: Scrollwork material ideas by Dale Farmer 47. Re: carbon filament lamps by James Feinberg 48. Re: Super Bowl Intermission by MissWisc [at] aol.com 49. Re: Scrollwork material ideas by "Jon Ares" 50. Re: Super Bowl Intermission by MissWisc [at] aol.com 51. Re: Scrollwork material ideas by doran [at] bard.edu 52. Re: carbon filament lamps by Fred Fisher 53. Re: Super Bowl Intermission by Steve Larson 54. Re: Scrollwork material ideas by Steve Larson 55. Bad Day at the Theater by "Ann Warren" 56. Re: Suit of Armor by roguerpj [at] mn.rr.com 57. Re: Suit of Armor by "Jack Morones" 58. Re: carbon filament lamps by "Stephen E. Rees" 59. Re: carbon filament lamps by FrankWood95 [at] aol.com 60. Re: You know it's going to be a bad show day when.... by CB 61. You know it's going to be a bad show day.... by "David R. Krajec" 62. Re: You know it's going to be a bad show day when.... by CB 63. Re: Super Bowl Intermission by CB 64. Re: You know it's going to be a bad show day when.... by CB 65. Showbiz Enterprise by "Waxler, Steve (waxlers)" 66. Reinforcing a teacup by "Kevin A. Patrick" 67. Re: Reinforcing a teacup by David Marks 68. Re: Reinforcing a teacup by Dale Farmer 69. Re: You know its gonna be a bad day when your truck... by "Thad Kramer" 70. Re: You know its gonna be a bad day when your truck... by Dale Farmer 71. Re: Super Bowl Intermission by "Andy Leviss" 72. Re: Super Bowl Intermission by IAEG [at] aol.com 73. Re: Reinforcing a teacup by Pat Kight *** 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. ---------------------------------------------------------------------- Message-ID: <005a01c50dd5$313d8e40$6601a8c0 [at] tamiasuis> From: "Christopher K. Nimm" References: Subject: Re: Source for architectural columns Date: Tue, 8 Feb 2005 05:56:12 -0600 You could also try Dixie-Pacific. There's a catalog at www.dixiepacific.com. The distribution center that I work at carries columns in wood and fiberglass. I've never actually seen one outside of the box, however. Chris Nimm ----- Original Message ----- From: "Ruth Neeman" To: "Stagecraft" Sent: Monday, February 07, 2005 9:24 PM Subject: Source for architectural columns > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am looking for a source for light weight, (plastic, styrofoam, vacuum > mold) architectural column parts ­ Doric or Tuscan. I would appreciate > pointers to websites of companies that offer these items for sale or > rental. > Thanks > > > Ruth Neeman > www.setbyruthneeman.com > > > ------------------------------ From: "Jonathan S. Deull" Subject: RE: Source for architectural columns Date: Tue, 8 Feb 2005 08:04:47 -0500 In-Reply-To: Message-ID: I am looking for a source for light weight, (plastic, styrofoam, vacuum mold) architectural column parts - Doric or Tuscan. I would appreciate pointers to websites of companies that offer these items for sale or rental. Thanks Home Depot has been suggested before. Jonathan Deull ------------------------------ Message-ID: <4208BE5E.9030807 [at] fredonia.edu> Date: Tue, 08 Feb 2005 08:27:58 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Lockable rope locks References: Contact me off-list for my commentary about these Tiffin devices. Steve Rees, TD SUNY-Fredonia Delbert Hall wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Tiffin Scenic makes them. > http://www.tiffinscenic.com/html/rope_locks.html Some people like them, > others do not. > > -Delbert > > Delbert L. Hall > 423-773-HALL (4255) > ------------------------------ Message-ID: <4208BEF4.6000908 [at] fredonia.edu> Date: Tue, 08 Feb 2005 08:30:28 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Source for architectural columns References: Ruth, try: www.outwaterplastics.com Steve Rees,TD SUNY-Fredonia Ruth Neeman wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am looking for a source for light weight, (plastic, styrofoam, vacuum > mold) architectural column parts ­ Doric or Tuscan. I would appreciate > pointers to websites of companies that offer these items for sale or rental. > Thanks > > > Ruth Neeman > www.setbyruthneeman.com > > ------------------------------ Message-ID: <029D880648EA1D49BC9016D1FCAB2880013E8C43 [at] cosmo.pei.com> From: "Eccleston, Mark" Subject: Rope Lock/Brake Date: Tue, 8 Feb 2005 07:32:02 -0600 At our theatre we have a "home-made" device made from 1/2" cold-rolled steel that intertwines with the lines of the counterweight system to secure it while it is out of balance. I'm wondering what is the correct term for this device? Do others use them? Recommend them? What do you use while loading/unloading weights from your system? Mark S. Eccleston Huntsville, Alabama 256-694-8575 ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: RE: Rope Lock/Brake Date: Tue, 08 Feb 2005 08:39:19 -0500 Mark, The devices you describe are NOT recommended since they can cause great damage to the guides on your arbors and idler blocks. Snug lines are the recommend way of dealing with out-of-weight linesets. -Delbert Delbert L. Hall 423-773-HALL (4255) >From: "Eccleston, Mark" >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Rope Lock/Brake >Date: Tue, 8 Feb 2005 07:32:02 -0600 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >At our theatre we have a "home-made" device made from 1/2" cold-rolled >steel >that intertwines with the lines of the counterweight system to secure it >while it is out of balance. I'm wondering what is the correct term for >this >device? Do others use them? Recommend them? What do you use while >loading/unloading weights from your system? > >Mark S. Eccleston >Huntsville, Alabama >256-694-8575 ------------------------------ Message-ID: <4208C327.8030809 [at] fredonia.edu> Date: Tue, 08 Feb 2005 08:48:23 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Rope Lock/Brake References: Mark, They are called Line-Loks or "Uncle Buddies" and many on this list disapprove of them for what they do to the shoes on the take-up block and the forces applied to the operating lines. You will find a discussion of same in Jay Glerum's book, Stage Rigging Handbook, 2nd ed., p.151-153. For loading or unloading weight, either the presence of a load on the pipe and proper reweighting procedure from the weight gallery. HTH. Steve Rees, TD SUNY-Fredonia Eccleston, Mark wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At our theatre we have a "home-made" device made from 1/2" cold-rolled steel > that intertwines with the lines of the counterweight system to secure it > while it is out of balance. I'm wondering what is the correct term for this > device? Do others use them? Recommend them? What do you use while > loading/unloading weights from your system? > > Mark S. Eccleston > Huntsville, Alabama > 256-694-8575 ------------------------------ In-Reply-To: References: Message-Id: <1d765f8009e8db0488f94fd6008dc535 [at] dejazzd.com> From: Greg Bierly Subject: Re: Source for architectural columns Date: Tue, 8 Feb 2005 08:52:19 -0500 I have not ordered from them but have been getting both email and snail mail catalogs from: http://www.tulnoylumber.com/ They carry a full line of vacuum-formed plastics. ------------------------------ In-Reply-To: References: Message-Id: <9d67b2eb4a867fce7c3bb997984be677 [at] dejazzd.com> From: Greg Bierly Subject: Re: Rope Lock/Brake Date: Tue, 8 Feb 2005 08:59:09 -0500 > I'm wondering what is the correct term for this > device? Do others use them? Recommend them? What do you use while > loading/unloading weights from your system? I have heard them called "Linelocks", "Ropelocks", "Uncle Buddy" If the archives are accessible you will find a host of opinions on these. I don't have any since the guys at Sapsis taught me the stopper hitch. (check out hstech.com for great pics). As others will tell you always be extra cautious when loading and unloading since it is very easy to get out of weight fast with something locking the operating line. It is often necessary but still need to be extra aware of what you are loading/unloading. Greg Bierly Technical Director Hempfield HS ------------------------------ From: "James Smith, www.theatrewireless.com" Cc: Show-Control [at] yahoogroups.com Subject: NEW GROUP - Stagecraft Remote Control Lights & Motion Date: Tue, 8 Feb 2005 09:24:53 -0500 In-Reply-To: <000001c50ba8$86aad100$9d749f04 [at] lapxp> Message-Id: <20050208142455.MXWG19622.tomts10-srv.bellnexxia.net [at] p3m866> There's a lot of interest in wireless dimming lately, and a growing interest in secure wireless motor control. To help all those using wireless dimmers or interested in them, I've set up a new User Group, courtesy of Yahoo! It's the Stagecraft Remote Control Lights & Motion User Group. Please join! The more readers and contributors we have, the better. Sign up at: http://groups.yahoo.com/group/theatrewireless/join Reliability and robust construction are key to the success of any system in the show environment, but there are a few other issues that are important too, all of which will be regular subjects in this group: - battery selection (most appropriate types, understanding capacity ratings, effects of temperature) - battery maintenance (pros and cons of different charging techniques) - how to wire batteries in series and parallel - issues that arise when wiring high current / high amperage dc circuits - safety issues (wire gauge, proper connectors, fusing) Few large shows get away with no wireless dimmers at all, and more and more smaller houses are using them. The Shaw Festival has 32 channels of wireless dimming and 10 remote dimmer packs that can power up to 40 lamps from battery power. Once you sign up, you can post messages to the group at: mailto:theatrewireless [at] yahoogroups.com. It would be a pleasure to see you in the group! Sincerely, James David Smith (Jim), Moderator Stagecraft Remote Control Lights & Motion User Group http://www.jamesdavidsmith.com ** ** ** See the Soundsculpture RC4 Wireless Dimmer System in action at the upcoming USITT Stage Expo in Toronto. Multiple systems will be on display, and new firmware will be debuted, including the new Visual Voltage TM battery indicator on every receiver, and several new DMX features on the transmitters. More info at http://www.theatrewireless.com. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Rope Lock/Brake Date: Tue, 8 Feb 2005 06:38:41 -0800 Message-ID: <003f01c50deb$e3325750$8d90fea9 [at] DrDoomsComputer> In-Reply-To: So true, from my point of view, from having inspected hundred and hundreds of them. Shy away from them. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert Hall Sent: Tuesday, February 08, 2005 5:39 AM To: Stagecraft Subject: Re: Rope Lock/Brake For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Mark, The devices you describe are NOT recommended since they can cause great damage to the guides on your arbors and idler blocks. Snug lines are the recommend way of dealing with out-of-weight linesets. -Delbert Delbert L. Hall 423-773-HALL (4255) >From: "Eccleston, Mark" >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Rope Lock/Brake >Date: Tue, 8 Feb 2005 07:32:02 -0600 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >At our theatre we have a "home-made" device made from 1/2" cold-rolled >steel >that intertwines with the lines of the counterweight system to secure it >while it is out of balance. I'm wondering what is the correct term for >this >device? Do others use them? Recommend them? What do you use while >loading/unloading weights from your system? > >Mark S. Eccleston >Huntsville, Alabama >256-694-8575 ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Lockable rope locks Date: Tue, 8 Feb 2005 06:39:40 -0800 Message-ID: <004001c50dec$0668edb0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: I recall their first ones at the Bob Hope Theater in Texas. Very interesting concept which was taken up by other manufacturers over the last forty years. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert Hall Sent: Monday, February 07, 2005 7:23 PM To: Stagecraft Subject: Re: Lockable rope locks For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Tiffin Scenic makes them. http://www.tiffinscenic.com/html/rope_locks.html Some people like them, others do not. -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Rope Lock/Brake Date: Tue, 8 Feb 2005 06:41:32 -0800 Message-ID: <004301c50dec$4949bf60$8d90fea9 [at] DrDoomsComputer> In-Reply-To: My concern, though I have not seen them, would be to have them examined by an engineer and evaluated. If they are not a manufacturers, and you have a rigging system that is installed by a company, and something goes awry because of the home made materials, the liability could be astronomical. Doom Your product mixing with a commercial product. -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Eccleston, Mark Sent: Tuesday, February 08, 2005 5:32 AM To: Stagecraft Subject: Rope Lock/Brake For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At our theatre we have a "home-made" device made from 1/2" cold-rolled steel that intertwines with the lines of the counterweight system to secure it while it is out of balance. I'm wondering what is the correct term for this device? Do others use them? Recommend them? What do you use while loading/unloading weights from your system? Mark S. Eccleston Huntsville, Alabama 256-694-8575 ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Rope Lock/Brake Date: Tue, 8 Feb 2005 06:42:38 -0800 Message-ID: <004401c50dec$70ecd7a0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Uncle Buddy or whatever name, and I have seen them all over, and used a great deal in England ... you just take your chances, it seems. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Bierly Sent: Tuesday, February 08, 2005 5:59 AM To: Stagecraft Subject: Re: Rope Lock/Brake For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > I'm wondering what is the correct term for this > device? Do others use them? Recommend them? What do you use while > loading/unloading weights from your system? I have heard them called "Linelocks", "Ropelocks", "Uncle Buddy" If the archives are accessible you will find a host of opinions on these. I don't have any since the guys at Sapsis taught me the stopper hitch. (check out hstech.com for great pics). As others will tell you always be extra cautious when loading and unloading since it is very easy to get out of weight fast with something locking the operating line. It is often necessary but still need to be extra aware of what you are loading/unloading. Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Tue, 08 Feb 2005 10:02:41 -0500 From: Stephen Litterst Subject: Re: Portable Audience Seating Message-id: <4208D491.4FBC821 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: -- Robbie Hayes wrote: > --------------------------------------------------- Narrowed it down to the Wenger Portable Audience Chair and the > Clarin 4400. We got to the same point when we bought our chairs and went with the Clarin, for storage reasons. A few years later we realize the solid back of the Wenger would have been nice (keeps people from kicking the folks in front of them) but overall I think we made the right choice. Steve Litterst Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: Rope Lock/Brake Date: Tue, 8 Feb 2005 10:45:24 -0500 I think that we ended up talking about two different things. If I am not mistaken (and I could be) the original post asked about a device the locks the rope locks so that a line can not be run by unauthorized personnel. In this example you would need a key to unlock the actual rope lock. We seemed to have drifted off into devices that are used to, TEMPORARILY, secure unbalanced loads. There, I feel better now! Oh, and one more thing! THEY ARE NOT BRAKES!! Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Dr. Randall W.A. Davidson [mailto:doomster [at] worldnet.att.net] Sent: Tuesday, February 08, 2005 9:42 AM To: Stagecraft Subject: Re: Rope Lock/Brake For info, archives & UNSUBSCRIBE, see --------------------------------------------------- My concern, though I have not seen them, would be to have them examined by an engineer and evaluated. If they are not a manufacturers, and you have a rigging system that is installed by a company, and something goes awry because of the home made materials, the liability could be astronomical. Doom Your product mixing with a commercial product. -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Eccleston, Mark Sent: Tuesday, February 08, 2005 5:32 AM To: Stagecraft Subject: Rope Lock/Brake For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At our theatre we have a "home-made" device made from 1/2" cold-rolled steel that intertwines with the lines of the counterweight system to secure it while it is out of balance. I'm wondering what is the correct term for this device? Do others use them? Recommend them? What do you use while loading/unloading weights from your system? Mark S. Eccleston Huntsville, Alabama 256-694-8575 ------------------------------ Date: Tue, 08 Feb 2005 10:08:32 -0600 Subject: Re: You know it's going to be a bad show day when.... From: Greg Persinger Message-ID: In-Reply-To: Tony Wrote: > You certainly worked a lot with Starship in the 80's (judging by the umpteen > posts on the topic!!) > 8-)) Tony I think the "Aroma" in the air fried some brain cells that are affecting his short term memory. :-) Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <4208E65E.1020708 [at] ix.netcom.com> Date: Tue, 08 Feb 2005 08:18:38 -0800 From: mo Subject: RE: Source for architectural columns Warner Bros. Staff Shop, under construction services http://wbsf.warnerbros.com/home.html Disney Studio Staff Shop http://studioservices.go.com/production/contacts.html Though they're Hollywood studios, they're surprisingly affordable. Get a copy of their catalogs. I've also had custom flex moulding made by Disney for much less than local moulding shops. Michael Millar ------------------------------ Reply-To: From: "Scott Boyle" Subject: RE: Portable Audience Seating Date: Tue, 8 Feb 2005 10:19:30 -0600 Organization: Carroll College Message-ID: <000001c50df9$f8653fd0$73db688c [at] cc.edu> In-Reply-To: Hi Robbie, We came down to the same two choices as well and we went with the Wenger chair. The determining factor was me sitting in the sample chairs during the tech rehearsals for a show. I figured with my bad back, whichever chair provided the most comfortable experience for 10 hrs. of sitting had to be good enough. I was also very impressed with the interlocking system on the Wenger chair. HTH Scott Boyle Technical Director Carroll College New to the list and looking to purchase new Chairs for a flexible space. Narrowed it down to the Wenger Portable Audience Chair and the Clarin 4400. Does anyone use these particular chairs and or have an opinion about them? The Wenger is more comfortable, but storing them is a bear. Or if you have a product that you love, let me know. Thanks, Robbie Hayes Georgetown University ------------------------------ Message-ID: <4208E8CA.2050207 [at] fuse.net> Date: Tue, 08 Feb 2005 11:28:58 -0500 From: Stuart Wheaton Subject: Re: Welding Shop Equipment References: In-Reply-To: RHolen [at] vinu.edu wrote: > I am getting a new theatre and a new scene shop. I have been asked to put > together a list of welding shop equipment. > The air handling equipment has already been ordered. Any suggestions as to > which is the best Brands and most useful. > MIG, TIG, Chop Saw, Metal Band Saw, ie? I think I can get what I ask for? > Welding gear: I am a fan of Miller, I own a few of my own and we run several in the shop. Excellent reliability, easy to get parts and supplies when you need them. IF you are thinking you might do aluminum, I'd strongly urge you to look at the Miller 210 pulser. It will do steel to 3/8" and will weld aluminum from 1/16" up to 3/8". Overall a great utility unit. If you just want to do steel, look at the Millermatic 250. If you set up a dedicated welding shop, think about a wire feeder on an overhead arm that allows you to reach the whole shop without dragging the welding machine around. The autodark welding helmets are great and they will help your students avoid getting flashed while they learn. Welding jackets with leather sleeves are a nice compromise between the cotton jackets that really don't offer any protection against contact and the expense of a full leather jacket. Get welding curtains and portable screens to protect the rest of the workers. There's no substitute for oxy acetylene when you just want to get something hot. You might not need a big rig, or use it very often, but it can save your ass once in a while. Plasma cutters are neat! There is a learning curve for some of them, and it really helps to have an air dryer as any moisture in the air line really causes trouble. Cold saws are so much nicer in every way. They growl, they don't scream, they spit out cold metal saw shavings that travel inches, instead of hot sparks that travel feet, and they are accurate to 32nds of an inch. With a few tricks you can remove the slimmest slice off the end of a tube. Get a good selection of small handheld grinders. Try them out while wearing gloves, make sure the switch is easy to operate. I personally hate the paddle switches, they tend to pinch me. YMMV Get a good drill press. If you can dedicate it specifically to metal work, get one you can hook up a coolant flood system to. If you really can afford it, get a mill/drill so you can cut slots and do simple machine work. A nice bench grinder is great, a belt/disc sander dedicated to steel work is even better, both is heaven. When you gotta bend a bracket for something, a good vise and or an anvil and a big hammer will do it for you. If you need 20 brackets that match, you want a Hossfeld bender. Get a tubing roller for rolling radius bends in square and rectangular tubing. You can build this from plans in the tech expo guide from 1991. Clamps! Get hundreds of them! Then order more! I love the vise grip swivel pad models, and the Kant-twist welding clamps, but a few bar clamps come in handy when you need to pull something into square. Think about your main welding work surface. The shop floor will do, and regular plywood table tops are OK, but if you can dedicate the space, go with a Grid Table. Mine is 5'x20' and has a 1" bar on about 1' centers. Include a good solid square fence, and the process of welding scenery is almost made fun! If you want pictures or drawing for a grid table or flying feeder, I'll happily send them to you. Stuart ------------------------------ In-Reply-To: Subject: Re: Super Bowl Intermission Message-ID: From: Christopher Haas CEHAAS Date: Tue, 8 Feb 2005 11:22:50 -0500 Kristi wrote: "Given the acoustical challenges of playing in the midst of a stadium that size, I'd HOPE he's lip synching. Imagine having the live sound plus all the echos. UGH. Bring on the University of Wisconsin Marching Band for a REAL half time show!!!" Kristi, you had a typo because the band name for a real halftime show is spelled The Ohio State University Marching Band TBDBITL :) ;) Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ From: "Karl G. Ruling" Date: Tue, 08 Feb 2005 11:31:16 -0500 Subject: Re: You know it's going to be a bad show day when. Reply-to: kruling [at] esta.org Message-ID: <4208A304.29427.6E115E [at] localhost> It wasn't that bad, but it did get off to a rocky start with the main act missing at curtain time. I stagemanaged a jazz concert with Bobby Hutcherson and an opening act I have forgotten. By curtain time, Hutcherson had not arrived, but the opening act had. We had a full house that was yelling for us to start, and getting louder and louder, so we started with just the opening act and hoped that Hutcherson would show up before they stopped playing. Part way through the opening set, Hutcherson showed up pushing his vibraphone through the stage door with one hand and holding the instrument's motor in the other. He mumbled something about, "Do you think you could...?" The shop had a jar of miscellaneous screws, and I was able to find ones to put the motor back in place, and it worked fine. It was a memorable concert. The house staff was inadequate to deal with the crowd. When the curtain opened for the first set, clouds of sweet-smelling smoke rolled from the house onto the stage. Clean up after the concert took longer than usual because of the large number of empty Mickey Big Mouth ale bottles on the floor. Hutcherson was good. The opening act was loud. The audience was frightening. ------------------------------ From: "ladesigners [at] juno.com" Date: Tue, 8 Feb 2005 16:33:22 GMT Subject: Re: You know it's going to be a bad show day when.... Message-Id: <20050208.083420.12571.40943 [at] webmail05.lax.untd.com> Many years ago, I was in the lobby dealing with some administrative matters a few moments before curtain of a show that I had designed and produced, and in walks in a very influential theatre critic from the major periodical. I immediately asked if the Critic wished a Press Package, and apologized for not having the Reviewer's preferred seat available, because the reviewer came without making a reservation. In the most theatrical voice, the Reviewer stated that the purpose of the visit was "not to praise the show, but to bury it", a paraphrase of a line from from 'Julius Caesar' by Shakespeare. I politely inquired why. Apparently, one of the actors had called the reviewer at home many times to solicit a review, and the critic was mad about this. I attempted to explain that I did not ask the actor to do this, that I paid a Publicist to prepare and mail press releases to the offices of the appropriate periodicals, and inquired why I should suffer economically through decreased box office revenue due to a bad review, due to a breach in protocol by an actor. I was told in no uncertain terms that I was responsible for the actions of the actor, and had to suffer the consequences for any untoward conduct by an actor, just as I would benefit from any unauthorized TV talk show appearance by an actor. I got though it, but the Director, other Designers, and actors took a hit that was not their fault. I never embarrassed the actor by revealing this knowledge, but I had to remind future casts that they were not to contact the press without clearing it with the publicist. /s/ Richard ------------------------------ Date: Tue, 08 Feb 2005 11:37:27 -0500 Subject: Clear-com interfacing? From: "C. Dopher" Message-ID: In-Reply-To: As much as I'd love to contribute a war story for worst show/week, I'll resist. I've seen more than my share of catastrophes, some involving permanent injury, but fortunately nothing that meant sending flowers to someone's wife/mother. Due to all of that, I'm a bit of a safety freak; some call me paranoid, I call it self-preservation. Theatre is a dangerous sport! OK, the real reason I'm posting: I'm involved in a production where one of the dance pieces will be performed by two groups of dancers on opposite coasts. Yes, that's right, 2,000 miles apart and they'll be performing a single piece together. Through the miracle of modern technology, we hope to make this the slickest merger of multi-site performance we've ever seen -- and we're pretty good at this already. This time, though, the need for a unified communications system is pretty clear. Each venue has a Clear-Com system, and Clear-Com makes the AC-10H module, which allows interfacing Clear-Com with 4-wire com systems, theoretically including telephone. So we're thinking of installing this at both venues, and connecting the two sites with a simple phone call. Using two of the 12 audio streams the performance is sending over Internet2 is probably not wise, mostly for political reasons. I hate to re-invent a wheel that TV invented long ago, but the last few live location shots I was at, they didn't have anything fancy to communicate with the home station -- just company cell phones! So has anybody done this kind of connection before? Or something similar? An article on a previous, simpler version of what we're doing is here: http://journalism.nyu.edu/pubzone/ReadMe/past/3.0/rimas_3.html Thanks in advance, Cris Dopher, LD ------------------------------ From: "ladesigners [at] juno.com" Date: Tue, 8 Feb 2005 16:36:37 GMT Subject: Re: Source for architectural columns Message-Id: <20050208.083724.12571.40970 [at] webmail05.lax.untd.com> Forget Disney. Patronize Warner Bros.! /s/ Richard Warner Bros. Staff Shop, under construction services http://wbsf.warnerbros.com/home.html Disney Studio Staff Shop http://studioservices.go.com/production/contacts.html Though they're Hollywood studios, they're surprisingly affordable. Michael Millar ------------------------------ Message-Id: <6.2.1.2.0.20050208113616.04007a08 [at] mail.insightbb.com> Date: Tue, 08 Feb 2005 11:38:19 -0500 From: Mike Brubaker Subject: Re: Super Bowl Intermission In-Reply-To: References: I am truly stunned at the lack of spelling ability. The band name for a half-time show is correctly spelled "Purdue University Marching Band." ;-) Mike At 11:22 AM 2/8/2005, Christopher Haas CEHAAS wrote: >Bring on the University of Wisconsin Marching Band for a REAL half time >show!!!" > > >Kristi, you had a typo because the band name for a real halftime show is >spelled The Ohio State University Marching Band TBDBITL :) ;) ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: You know it's going to be a bad show day when.... Date: Tue, 8 Feb 2005 08:39:44 -0800 Message-ID: <006e01c50dfc$cc247c30$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Richard, you are always, and I mean always amazing and I salute your professionalism. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of ladesigners [at] juno.com Sent: Tuesday, February 08, 2005 8:33 AM To: Stagecraft Subject: Re: You know it's going to be a bad show day when.... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Many years ago, I was in the lobby dealing with some administrative matters a few moments before curtain of a show that I had designed and produced, and in walks in a very influential theatre critic from the major periodical. I immediately asked if the Critic wished a Press Package, and apologized for not having the Reviewer's preferred seat available, because the reviewer came without making a reservation. In the most theatrical voice, the Reviewer stated that the purpose of the visit was "not to praise the show, but to bury it", a paraphrase of a line from from 'Julius Caesar' by Shakespeare. I politely inquired why. Apparently, one of the actors had called the reviewer at home many times to solicit a review, and the critic was mad about this. I attempted to explain that I did not ask the actor to do this, that I paid a Publicist to prepare and mail press releases to the offices of the appropriate periodicals, and inquired why I should suffer economically through decreased box office revenue due to a bad review, due to a breach in protocol by an actor. I was told in no uncertain terms that I was responsible for the actions of the actor, and had to suffer the consequences for any untoward conduct by an actor, just as I would benefit from any unauthorized TV talk show appearance by an actor. I got though it, but the Director, other Designers, and actors took a hit that was not their fault. I never embarrassed the actor by revealing this knowledge, but I had to remind future casts that they were not to contact the press without clearing it with the publicist. /s/ Richard ------------------------------ Message-id: Date: Tue, 08 Feb 2005 11:44:44 -0500 Subject: Re: You know it's going to be a bad show day when.... From: "Joshua Webb" References: In-Reply-To: Too bad he wasn't lucky enough to have it effect his memory of Startship altogether, I know I still suffer. ------------------------------ From: "Karl G. Ruling" Date: Tue, 08 Feb 2005 11:44:48 -0500 Subject: Re: lime light Reply-to: kruling [at] esta.org Message-ID: <4208A630.5111.7A7696 [at] localhost> In-reply-to: > > just think though, , with the greenish glow of Lime Light, , Mimi > looks REALLY ill ! Lime light is named for the mineral that is heated to white-hot incandescence, not for the color of the light produced. ------------------------------ Message-id: Date: Tue, 08 Feb 2005 11:48:30 -0500 Subject: Re: Super Bowl Intermission From: "Joshua Webb" References: In-Reply-To: Michigan State University Marching Band (led by John Madden ;-) ------------------------------ Subject: RE: You know it's going to be a bad show day when. Date: Tue, 8 Feb 2005 08:53:20 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239FD [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I haven't been following this thread, but if you haven't heard the Peter = Pan/Fiasco show from This American Life on NPR, it's a *classic* = narrative of theatrical mishap. I have a copy on MP3, but no way to = share it... -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 8 Feb 2005 12:00:55 -0500 From: Brad Spachman Subject: Re: Super Bowl Intermission Heh. I can see the problem with all you people going to state schools...an inability to spell half-time show as "Northwestern University Marching Band"... :-) Best, Brad >I am truly stunned at the lack of spelling ability. The band name >for a half-time show is correctly spelled "Purdue University >Marching Band." ;-) > >Mike > >At 11:22 AM 2/8/2005, Christopher Haas CEHAAS wrote: > >>Bring on the University of Wisconsin Marching Band for a REAL half time >>show!!!" >> >> >>Kristi, you had a typo because the band name for a real halftime show is >>spelled The Ohio State University Marching Band TBDBITL :) ;) -- Brad Spachman bspachman [at] att.net ------------------------------ Message-Id: <6.2.1.2.0.20050208120855.03f91c00 [at] mail.insightbb.com> Date: Tue, 08 Feb 2005 12:09:52 -0500 From: Mike Brubaker Subject: Re: Super Bowl Intermission In-Reply-To: References: Anyone else notice that these are all Big Ten schools? Seems no one else is in contention... Mike At 12:00 PM 2/8/2005, Brad Spachman wrote: >Heh. I can see the problem with all you people going to state schools...an >inability to spell half-time show as "Northwestern University Marching >Band"... :-) > >Best, >Brad > > >>I am truly stunned at the lack of spelling ability. The band name for a >>half-time show is correctly spelled "Purdue University Marching Band." ;-) >> >>Mike >> >>At 11:22 AM 2/8/2005, Christopher Haas CEHAAS wrote: >> >>>Bring on the University of Wisconsin Marching Band for a REAL half time >>>show!!!" >>> >>> >>>Kristi, you had a typo because the band name for a real halftime show is >>>spelled The Ohio State University Marching Band TBDBITL :) ;) > > >-- >Brad Spachman >bspachman [at] att.net ------------------------------ Message-ID: <4208F64D.3040307 [at] fuse.net> Date: Tue, 08 Feb 2005 12:26:37 -0500 From: Stuart Wheaton Subject: Re: Super Bowl Intermission References: In-Reply-To: Mike Brubaker wrote: > Anyone else notice that these are all Big Ten schools? Seems no one > else is in contention... Real sports don't have a half time show... ------------------------------ From: "Bob Robins" Subject: RE: Super Bowl Intermission Date: Tue, 8 Feb 2005 12:20:31 -0500 Message-ID: In-Reply-To: The Pride of the Sunshine, The University of Florida Fighting Marching Band. Bob Robins Hippodrome State Theatre 25 SE 2nd Place Gainesville FL 32601 352.373.5968 lighting [at] thehipp.org >Anyone else notice that these are all Big Ten schools? Seems no one else is in contention...< -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005 ------------------------------ Message-ID: <4208F6EE.A94003EB [at] cybercom.net> Date: Tue, 08 Feb 2005 12:29:18 -0500 From: Dale Farmer Subject: Re: Clear-com interfacing? References: "C. Dopher" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > As much as I'd love to contribute a war story for worst show/week, I'll > resist. I've seen more than my share of catastrophes, some involving > permanent injury, but fortunately nothing that meant sending flowers to > someone's wife/mother. Due to all of that, I'm a bit of a safety freak; > some call me paranoid, I call it self-preservation. Theatre is a dangerous > sport! > > OK, the real reason I'm posting: > > I'm involved in a production where one of the dance pieces will be performed > by two groups of dancers on opposite coasts. Yes, that's right, 2,000 miles > apart and they'll be performing a single piece together. Through the > miracle of modern technology, we hope to make this the slickest merger of > multi-site performance we've ever seen -- and we're pretty good at this > already. > > This time, though, the need for a unified communications system is pretty > clear. Each venue has a Clear-Com system, and Clear-Com makes the AC-10H > module, which allows interfacing Clear-Com with 4-wire com systems, > theoretically including telephone. So we're thinking of installing this at > both venues, and connecting the two sites with a simple phone call. Using > two of the 12 audio streams the performance is sending over Internet2 is > probably not wise, mostly for political reasons. I hate to re-invent a wheel > that TV invented long ago, but the last few live location shots I was at, > they didn't have anything fancy to communicate with the home station -- just > company cell phones! > > So has anybody done this kind of connection before? Or something similar? > > An article on a previous, simpler version of what we're doing is here: > http://journalism.nyu.edu/pubzone/ReadMe/past/3.0/rimas_3.html > > Thanks in advance, > Cris Dopher, LD I'd get a pair of the telephone bridges, they are made mostly for the radio talk show market, so check your broadcast supply catalogs. Those will give you line level audio out and take line level audio in. You have to screw around with them for the echo cancellation, which is a not too difficult if you have the manual. Fairly straightforward from there. --Dale ------------------------------ Subject: RE: Source for architectural columns Date: Tue, 8 Feb 2005 12:28:25 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C703 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I am looking for a source for light weight, (plastic,=20 > styrofoam, vacuum > mold) architectural column parts - Doric or Tuscan. I would=20 > appreciate pointers to websites of companies that offer these=20 > items for sale or rental. Thanks In the past I've gotten them from Global Manufacturing Solutions (http://www.globalms.com/). Decent turnaround time and decent cost...though they don't rent (AFAIK). They'll also do custom shapes as well... ------------------------------ In-Reply-To: References: Message-Id: <817A92A6-79F8-11D9-BC99-000393BB489C [at] ucla.edu> From: Samuel Jones Subject: Re: Super Bowl Intermission Date: Tue, 8 Feb 2005 09:40:21 -0800 Paul McCartney ... Marching Band ... Marching Band ... Paul McCartney ... Paul McCartney ... Marching Band ... Marching Band ... Paul McCartney ... This is an easy call, and only in the Big 10 and Texas is the choice for Marching Band. Sam Samuel L. Jones Theater Production Supervisor, Dance Program Dept. of World Arts and Cultures, UCLA sjones [at] arts.ucla.edu ========================================================== On Feb 8, 2005, at 8:22 AM, Christopher Haas CEHAAS wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Kristi wrote: > > "Given the acoustical challenges of playing in the midst of a stadium > that > size, I'd HOPE he's lip synching. Imagine having the live sound plus > all > the echos. UGH. > > Bring on the University of Wisconsin Marching Band for a REAL half time > show!!!" > > > Kristi, you had a typo because the band name for a real halftime show > is > spelled The Ohio State University Marching Band TBDBITL :) ;) > > > > Chip Haas > Technical Director > Department of Theatre > The University of North Carolina at Greensboro > > 336-334-3891 > > ------------------------------ Message-ID: <3166.129.252.241.105.1107885603.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Tue, 8 Feb 2005 13:00:03 -0500 (EST) Subject: Re: You know it's going to be a bad show day when. From: usctd [at] columbia.sc Here is a link to it. Enjoy! http://www.thislife.org/pages/descriptions/97/61.html -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > I haven't been following this thread, but if you haven't heard the Peter > Pan/Fiasco show from This American Life on NPR, it's a *classic* narrative > of theatrical mishap. > ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Super Bowl Intermission Date: Tue, 08 Feb 2005 12:56:12 -0500 Totally correct Bob!!!! Go gators!!!!! Delbert L. Hall 423-773-HALL (4255) > >The Pride of the Sunshine, The University of Florida Fighting Marching >Band. > >Bob Robins >Hippodrome State Theatre >25 SE 2nd Place >Gainesville FL 32601 >352.373.5968 >lighting [at] thehipp.org > > > > >Anyone else notice that these are all Big Ten schools? Seems no one else >is in contention...< > > > >-- >No virus found in this outgoing message. >Checked by AVG Anti-Virus. >Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005 > > ------------------------------ Date: Tue, 08 Feb 2005 18:18:19 +0000 From: IAEG [at] aol.com Subject: Re: lime light Message-ID: <3330C635.29F1DFB2.00002B9E [at] aol.com> correct you are, , , but according to most historical records I have read it did give off a greenish light keith ------------------------------ Message-ID: From: "Jason" References: Subject: Re: You know it's going to be a bad show day when.... Date: Tue, 8 Feb 2005 11:33:40 -0800 It does look that way but all the times are the same... MSN must have screwed up is all I can say......... ----- Original Message ----- From: "Tony" > You certainly worked a lot with Starship in the 80's (judging by the > umpteen > posts on the topic!!) > 8-)) ------------------------------ Date: Tue, 08 Feb 2005 13:48:04 -0600 From: Fred Fisher Subject: carbon filament lamps Message-id: <5.2.1.1.2.20050208134343.019511c8 [at] wiscmail.wisc.edu> We're looking for a source of carbon filament lamps. Min. 40W, max 60W. , med. screw base, A shape although others will be considered. Thanks, Fred Fisher ------------------------------ Subject: Scrollwork material ideas Date: Tue, 8 Feb 2005 14:52:33 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C705 [at] exchange.rmwc.edu> From: "Paul Schreiner" For "...Earnest" our designer is throwing me a bit of a curve--well, lots of them. He's looking for a lot of decorative scrollwork such as one might find typically made out of cast iron. Partly because of budget constraints and partly because some of this needs to be able to handle a mostly-unsupported span of about 40', but mostly because he'd like to shape it on-site I'm looking for a replacement material. Yes, I know working with ethafoam and such...but if it's at all possible, I'd rather not have to go through a "hardening" stage once the form is picked. Ideally, what I'd be looking for would be an inexpensive supplier of a material slightly less springy than those blue flexible drafting curve tools. Something that would take and hold an intricate shape, yet be lightweight and "economical". Any ideas? ------------------------------ In-Reply-To: References: Message-Id: <9bf40f7ccfa4115ffd63306024789b63 [at] hawaii.rr.com> From: Karen Archibald Subject: Suit of Armor Date: Tue, 8 Feb 2005 09:55:33 -1000 I'm designing the set for a production of The Miser at a small college here. The play calls for a suit of armor on stage throughout - which walks out in Act IV. We've got the gag worked out with a short blackout and a small turntable/niche in the wall. The real issue is finding 2 identical suits of armor, adjustable to the size of the actor. I am awaiting a catalog from Tobin's Lake Studios, but does anyone have any other sources for under $500 for two suits? Anyone familiar with the Tobin's Lake suits - which come in sheets and require cutout and assembly I believe? Thanks. ------------------------------ Message-ID: <42091C38.F5EA00D4 [at] cybercom.net> Date: Tue, 08 Feb 2005 15:08:24 -0500 From: Dale Farmer Subject: Re: Scrollwork material ideas References: Paul Schreiner wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > For "...Earnest" our designer is throwing me a bit of a curve--well, > lots of them. He's looking for a lot of decorative scrollwork such as > one might find typically made out of cast iron. Partly because of > budget constraints and partly because some of this needs to be able to > handle a mostly-unsupported span of about 40', but mostly because he'd > like to shape it on-site I'm looking for a replacement material. > > Yes, I know working with ethafoam and such...but if it's at all > possible, I'd rather not have to go through a "hardening" stage once the > form is picked. > > Ideally, what I'd be looking for would be an inexpensive supplier of a > material slightly less springy than those blue flexible drafting curve > tools. Something that would take and hold an intricate shape, yet be > lightweight and "economical". Any ideas? Black foamcore. Available at Staples in 2x3 foot sheets for a couple bucks. Larger sheets available by special order through your local art supply house. This is the stuff that is used to make standup store displays and the like. LIght, self-supporting for several feet. Cut out with razor knives. Paintable. --Dale ------------------------------ Date: Tue, 8 Feb 2005 12:14:39 -0800 Subject: Re: carbon filament lamps From: James Feinberg In-Reply-To: Message-Id: <0F9AC938-7A0E-11D9-878B-00039367B7D4 [at] sandiego.edu> I'm not sure that they're authentic carbon filament, but try Rejuvenation lighting and hardware. Their catalog is great fun to look through, but here's a direct link to their lamps: http://www.rejuvenation.com/typepageLight%20Bulbs/templates/ houseparts_group.html?iqg=5bb3ecf584027bfecda1a04bac1a41f9 --James Feinberg University of San Diego On Tuesday, February 8, 2005, at 11:48 AM, Fred Fisher wrote: > We're looking for a source of carbon filament lamps. Min. 40W, max > 60W. , med. screw base, A shape although others will be considered. > Thanks, > Fred Fisher ------------------------------ Date: Tue, 08 Feb 2005 15:36:52 -0500 From: MissWisc [at] aol.com Subject: Re: Super Bowl Intermission Message-ID: <30940AF8.4B4AE582.007B9F2A [at] aol.com> Chris... a double header of Ohio and Wisconsin marching bands??? That's not football, that's nirvana! Kristi ------------------------------ Message-ID: <000d01c50e1e$3f4f5a60$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Scrollwork material ideas Date: Tue, 8 Feb 2005 12:39:12 -0800 > Ideally, what I'd be looking for would be an inexpensive supplier of a > material slightly less springy than those blue flexible drafting curve > tools. Something that would take and hold an intricate shape, yet be > lightweight and "economical". Any ideas? Don't know if you can make this suggestion work, but if not, at least the advice was worth the cost. :) I have done lots of decorative "wrought iron" work using Romex wiring. The casing doesn't like spray paint though - unless you paint a latex primer over it first. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Date: Tue, 08 Feb 2005 15:41:58 -0500 From: MissWisc [at] aol.com Subject: Re: Super Bowl Intermission Message-ID: <6C29C21D.18B11E43.007B9F2A [at] aol.com> << they're all big ten schools...>> That's because in the midwest, football is just another excuse to party and every party needs music. :) Kristi ------------------------------ Message-ID: <1107895711.4209259f4c4a0 [at] webmail.bard.edu> Date: Tue, 8 Feb 2005 15:48:31 -0500 From: doran [at] bard.edu Subject: Re: Scrollwork material ideas References: In-Reply-To: Paul, You could try Romex cable, maybe 12/2&Ground. We did that here years ago, and it worked pretty well, painted and with a 20' throw. The local BuildersLowesDepot ought to have some varying lengths in boxes and on rolls for a pretty fair price. You can lay out your art work on the deck, shape the Romex to that, and tie or epoxy the joints. Then you can screw the whole business to your frame. Andy Champ-Doran Technical Director Bard College Theater Quoting Paul Schreiner : >He's looking for a lot of decorative scrollwork such as > one might find typically made out of cast iron. Partly because of > budget constraints and partly because some of this needs to be able to > handle a mostly-unsupported span of about 40', but mostly because he'd > like to shape it on-site I'm looking for a replacement material. > Yes, I know working with ethafoam and such...but if it's at all > possible, I'd rather not have to go through a "hardening" stage once the > form is picked. >Something that would take and hold an intricate shape, yet be > lightweight and "economical". Any ideas? ------------------------------ Date: Tue, 08 Feb 2005 14:52:57 -0600 From: Fred Fisher Subject: Re: carbon filament lamps In-reply-to: Message-id: <5.2.1.1.2.20050208145006.01987c38 [at] wiscmail.wisc.edu> References: Thanks for the link, James. I also Googled carbon filament and found a Lehman's link and a place called House of Antique Hardware. Great places to browse. Fred Fisher >I'm not sure that they're authentic carbon filament, but try >Rejuvenation lighting and hardware. Their catalog is great fun to look >through, but here's a direct link to their lamps: > >http://www.rejuvenation.com/typepageLight%20Bulbs/templates/ >houseparts_group.html?iqg=5bb3ecf584027bfecda1a04bac1a41f9 > >--James Feinberg >University of San Diego > >On Tuesday, February 8, 2005, at 11:48 AM, Fred Fisher wrote: >>We're looking for a source of carbon filament lamps. Min. 40W, max >>60W. , med. screw base, A shape although others will be considered. >>Thanks, >>Fred Fisher ------------------------------ Date: Tue, 08 Feb 2005 16:04:16 -0500 Subject: Re: Super Bowl Intermission From: Steve Larson Message-ID: In-Reply-To: No, It's a good reason to get another beer. Steve > From: MissWisc [at] aol.com > Reply-To: "Stagecraft" > Date: Tue, 08 Feb 2005 15:36:52 -0500 > To: "Stagecraft" > Subject: Re: Super Bowl Intermission > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Chris... a double header of Ohio and Wisconsin marching bands??? That's not > football, that's nirvana! > > Kristi > > ------------------------------ Date: Tue, 08 Feb 2005 16:09:14 -0500 Subject: Re: Scrollwork material ideas From: Steve Larson Message-ID: In-Reply-To: Any decent display artist could take your design and scan it into their computer and cut it out with a router. Warner Brothers does it. My local display artist company does it. It ain't cheap but it's really cool, and lightweight. Check the archives. This subject was dealt with in August '04. Steve > From: Dale Farmer > Reply-To: "Stagecraft" > Date: Tue, 08 Feb 2005 15:08:24 -0500 > To: "Stagecraft" > Subject: Re: Scrollwork material ideas > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > Paul Schreiner wrote: > >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> For "...Earnest" our designer is throwing me a bit of a curve--well, >> lots of them. He's looking for a lot of decorative scrollwork such as >> one might find typically made out of cast iron. Partly because of >> budget constraints and partly because some of this needs to be able to >> handle a mostly-unsupported span of about 40', but mostly because he'd >> like to shape it on-site I'm looking for a replacement material. >> >> Yes, I know working with ethafoam and such...but if it's at all >> possible, I'd rather not have to go through a "hardening" stage once the >> form is picked. >> >> Ideally, what I'd be looking for would be an inexpensive supplier of a >> material slightly less springy than those blue flexible drafting curve >> tools. Something that would take and hold an intricate shape, yet be >> lightweight and "economical". Any ideas? > > Black foamcore. Available at Staples in 2x3 foot sheets for a couple > bucks. Larger sheets available by special order through your local art > supply house. This is the stuff that is used to make standup store displays > > and the like. LIght, self-supporting for several feet. Cut out with razor > knives. Paintable. > > --Dale > > > > ------------------------------ Message-Id: Date: Tue, 08 Feb 2005 17:00:03 -0500 From: "Ann Warren" Subject: Bad Day at the Theater You know it is gong to be a bad load-in when the two local IA crew, who have been assigned to work with you and fellow female partner, wink and say "Now don't you worry. We will get this up for you gals just fine." Seven hours later, the four hour load-in is through with us "gals" doing about two thirds of the work and having to convice the two hands, who had a whole nine months of experience between the two of them, that we did actually know the best and safest way to rig our scenery. During the strike I discovered that the photo-op that they had been asked to assemble (which consisted of four flats and a header and took them the better part of two hours to assemble) had the header attached with 3/4 inch screws. I was amazed the piece did not fall on any of the people attending the event. The only thing these two where able to manage with any consistency was their breaks. Not a fun trip. We also had a transformer for a piece of neon go out and had to call in a local fellow and pay a Sunday rate. Ann Warren Scenic Studio Supervisor Indiana State University ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Suit of Armor Date: Tue, 08 Feb 2005 16:48:37 -0600 Message-ID: References: In-Reply-To: Try and see if you have a local branch of the SCA in your area. This is a national group that has local chapters there main web site is www.sca.org. Also see if maybe there is another reenactment group that may have what you need. Rob Johnson On Tue, 08 Feb 2005 09:55:33 -1000, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I'm designing the set for a production of The Miser at a small college=20 >here. The play calls for a suit of armor on stage throughout - which=20 >walks out in Act IV. We've got the gag worked out with a short=20 >blackout and a small turntable/niche in the wall. The real issue is=20 >finding 2 identical suits of armor, adjustable to the size of the=20 >actor. I am awaiting a catalog from Tobin's Lake Studios, but does=20 >anyone have any other sources for under $500 for two suits? Anyone=20 >familiar with the Tobin's Lake suits - which come in sheets and require=20 >cutout and assembly I believe? Thanks. ------------------------------ From: "Jack Morones" Subject: RE: Suit of Armor Date: Tue, 8 Feb 2005 15:24:01 -0800 Organization: Saddleback College Message-ID: <000001c50e35$46005690$6500a8c0 [at] SCJACKLT> In-Reply-To: A good trick for plastic armor (you can paint it to look real) is using 1/4" ABS plastic sheets. Cut a rough pattern of your actor's body, heat and mold to the actor. Pretty easy to do and inexpensive. By the way, this is an old SCA trick for getting a quick set of armor. Good Luck! -Jack (Also member of the SCA) Jack R. Morones Production Manager McKinney Theatre -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of roguerpj [at] mn.rr.com Sent: Tuesday, February 08, 2005 2:49 PM To: Stagecraft Subject: Re: Suit of Armor For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Try and see if you have a local branch of the SCA in your area. This is a national group that has local chapters there main web site is www.sca.org. Also see if maybe there is another reenactment group that may have what you need. Rob Johnson On Tue, 08 Feb 2005 09:55:33 -1000, you wrote: >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > >I'm designing the set for a production of The Miser at a small college >here. The play calls for a suit of armor on stage throughout - which >walks out in Act IV. We've got the gag worked out with a short >blackout and a small turntable/niche in the wall. The real issue is >finding 2 identical suits of armor, adjustable to the size of the >actor. I am awaiting a catalog from Tobin's Lake Studios, but does >anyone have any other sources for under $500 for two suits? Anyone >familiar with the Tobin's Lake suits - which come in sheets and require >cutout and assembly I believe? Thanks. ------------------------------ Message-ID: <42094C63.8030904 [at] fredonia.edu> Date: Tue, 08 Feb 2005 18:33:55 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: carbon filament lamps References: Fred, Try Rejuvenation Lamp and Fixture Co. in Portland, OR www.rejuvenation.com 888-401-1900 HTH, Steve Rees, TD SUNY-Fredonia Fred Fisher wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We're looking for a source of carbon filament lamps. Min. 40W, max 60W. > , med. screw base, A shape although others will be considered. > Thanks, > Fred Fisher ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <88.2001a5c4.2f3aadf0 [at] aol.com> Date: Tue, 8 Feb 2005 19:06:08 EST Subject: Re: carbon filament lamps In a message dated 08/02/05 19:53:21 GMT Standard Time, fwfisher [at] wisc.edu writes: > We're looking for a source of carbon filament lamps. Min. 40W, max 60W. , > med. screw base, A shape although others will be considered. I think that some manufacturers can still do small runs. A few years ago, I went round the Charles Rennie Mackintosh house, in the museum of Glasgow University. This is wholly original, carbon filament lamps and all. I asked the guide, and he said that they had a batch made from time to time. I think that it was Mazda. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20050208182555.0182cc88 [at] pop.west.cox.net> Date: Tue, 08 Feb 2005 18:25:55 From: CB Subject: Re: You know it's going to be a bad show day when.... >Easy, >you get to the theatre for a 7 am call and there is no coffee within a >2 mile radius to the building. That's just a product of bad planning. For a 7am call, I wake up a half an hour early (at 6) and make my own cappucino in the room. Nowadays, I lso put the number of the nearest Starbucks (in case of emergencies) into the cell phone DOA. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Reply-To: From: "David R. Krajec" Subject: You know it's going to be a bad show day.... Date: Tue, 8 Feb 2005 19:27:05 -0600 Message-ID: In-Reply-To: It was the summer of '75 at Porthouse Summer Theatre in Ohio. We were beginning our summer season with "La Mancha". Show time was 8:00PM. At about 8:15 PM, a summer thunderstorm rolls through. Porthouse is an open-air theatre (roof and no walls). The storm was packing winds of 40 MPH with gusts, and lots of rain. The job of the stage crew was to pull the curtain walls shut, but since the winds were so wicked the curtains just blew in. So the stage crew had to stand outside in a mean thunderstorm holding the curtains shut while the wind and rain whipped at our bodies and lighting danced around our ears. Ten minutes later the storm has passed and a beautiful post-storm sunset appears. The thunderstorm, which has just blown out to the east, hits a power sub-station and we go black. Nobody stopped anything. The few emergency lights came on. But not enough to light the stage. The faculty member in charge runs to the box office and rips an emergency light off the wall. Unbeknownst to us, it was an open wet cell batter. So he is standing there in the back of the house in a three-piece suit holding the light to illuminate the stage with battery acid all over his front (from chin to...well, his personals). Someone then gets the idea to use our car headlights to light the stage. So we drive our cars just behind the audience and kind of shine them in the general direction of the stage. The whole time the show is going on. The orchestra, upstage behind the scenery, has been playing the past two numbers from memory. The conductor is leading them by counting out loud (quietly) until he gets a pen light to conduct. We got two standing ovations that night. Go figure! ------------------------------ Message-Id: <3.0.6.32.20050208191254.0182cc88 [at] pop.west.cox.net> Date: Tue, 08 Feb 2005 19:12:54 From: CB Subject: RE: You know it's going to be a bad show day when.... >Anyone noticing a common theme through all these posts? Why do most of >them seem to involve truck issues? And ya still go back for another Ryder? OK, no shit, there I was. While touring with a very famous reggae artist's band with his son (since he's now dead) fronting, we decided we would drive through the nite after loadout, avoiding traffic, and sleep all day at the next city. Arriving bright and early the next day (in traffic...) one of the ires hit a piece of curbing that had been broken off and was lying in the street. No chandce to stop, no chance to veer. The outside pass dualie si dead, Jim. We go to the Ryder shop (not a store, thier shop) and we get the third degree and the runaround for seven hours, when I call my buddie's mom back in Tucson (she works for a Penske store) to ask how long before I can get one of her trucks to come get me. Fifteen minutes later, a Penske pulls up and the Ryder d**k won't let me pull it into the yard. "Fine!", says I, "Dump it where it lies and we'll wheel the stuff to the new truck." "You can't do that!" sez RD. "You don't want to try and stop me, do ya?" queries I, batting my lashes and looking all innicent and stuff. Well, when the cops showed up, we had all but the smelly pillows and sleeping bags and beer coolers on the new Penske (172 miles on it!) and the cop walks up to me and asks what I'm doing. I tell him I'm off to do a show, the RD tells him that I owe for some and such and damages and etc, and that he has a contract that states that he has the right to hold the contents til we're contractually square. I explain to the cop that I didn't sign the contract, I just drive the truck and build and mix the shows, and OBTW, this stuff was never on that truck. The only stuff on the truck, as far as the cop knows, are the stinkinhg sleepin bags, the mouldy pillows, and some rank coolers. "He can have those, if he wants 'em." RD - "No, I don't want them! I want the stuff that was on the truck!" CB - "You heard him, Norman, he doesn't want the coolers and stuff, put 'em on the Penske! Hey, officer, you didn't see any of this stuff on that truck, didja?" Cop - "Well, no... Hey RD, it looks like you have a civil claim, but I can't detain this stuff on the Penske" CB - "Thanks officer, can I go now?" Cop - "Sure. You have a nice day, and drive safe" RD - " * [at] #$*& [at] #$*#!& [at] )#&!&! OTOH, most of the stories of really bad days can be summed up into the phrase, "One time, on the road, I didn't plan well or prepare for contingencies, and it bit me." The rest are inevitable, and no amount of planning will take care of it. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050208191929.0182cc88 [at] pop.west.cox.net> Date: Tue, 08 Feb 2005 19:19:29 From: CB Subject: Re: Super Bowl Intermission >I'd HOPE he's lip synching. Imagine having the live sound plus all the echos. Ye of little faith! It would be bad, if electricians were mixing, or a certain Wisconsonite that shall remain nameless. Me, I'd put a buncha monitors around the guy and make sure that they were louder than the reflections. I don't think that Paul would lipsync, but I could be wrong. If he DID, it wouldn't be because he couldn't adequately hear himself. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050208193434.0182cc88 [at] pop.west.cox.net> Date: Tue, 08 Feb 2005 19:34:34 From: CB Subject: RE: You know it's going to be a bad show day when.... >And every time one of those lines came, the >charming audience would take it up like a call-and-response One decent usher with his wits about him could have solved the entire problem. With this audience, however, I begin to think about taking up the cry to legalize retro-active abortions... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: Showbiz Enterprise Date: Tue, 8 Feb 2005 21:36:00 -0500 Did any of you get an unsolicited email from ShowBiz Enterprise for stage draperies? I am curious if this is from the list or some other source. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati ------------------------------ From: "Kevin A. Patrick" Subject: Reinforcing a teacup Date: Tue, 8 Feb 2005 22:47:19 -0500 Organization: Columbus State University In-reply-to: Message-ID: I'm experimenting tomorrow, but thought I would ask tonight for any wisdom... For an upcoming production of "Trestle at Pope Lick Creek", the script calls for an actor to break a teacup that in turn cuts his hand. He then plays with the pieces, picks them up, and I believe carries them offstage. So, now I'm stuck with breaking a cup that does NOT cut the actor's hand. We're trying things I don't think will work first, before we go to options like "the actor does not cradle the cup in his hand as he forcibly strikes the stage with it." Tomorrow morning I'm going to try fiberglass and resin on the inside of the cup for about 2/3rds coverage. The idea is that 2/3rds of it will not shatter and we can control the break. The propsmaster tried scrim and, I think, white glue with some success. Any other ideas? \< Kevin Patrick Theatre.colstate.edu -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005 ------------------------------ Message-ID: <42098939.2080401 [at] att.net> Date: Tue, 08 Feb 2005 22:53:29 -0500 From: David Marks Subject: Re: Reinforcing a teacup References: In-Reply-To: Kevin A. Patrick wrote: >Tomorrow morning I'm going to try fiberglass and resin on the inside of the >cup for about 2/3rds coverage. The idea is that 2/3rds of it will not >shatter and we can control the break. > To continue that thought, possibly carefully break 1/3rd of the cup, then glue it and reinforce the unbroken part to make sure it will break where you want it to. Dave Marks ------------------------------ Message-ID: <4209927A.FBD3A320 [at] cybercom.net> Date: Tue, 08 Feb 2005 23:32:59 -0500 From: Dale Farmer Subject: Re: Reinforcing a teacup References: "Kevin A. Patrick" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm experimenting tomorrow, but thought I would ask tonight for any > wisdom... > > For an upcoming production of "Trestle at Pope Lick Creek", the script calls > for an actor to break a teacup that in turn cuts his hand. He then plays > with the pieces, picks them up, and I believe carries them offstage. > > So, now I'm stuck with breaking a cup that does NOT cut the actor's hand. > We're trying things I don't think will work first, before we go to options > like "the actor does not cradle the cup in his hand as he forcibly strikes > the stage with it." > > Tomorrow morning I'm going to try fiberglass and resin on the inside of the > cup for about 2/3rds coverage. The idea is that 2/3rds of it will not > shatter and we can control the break. The propsmaster tried scrim and, I > think, white glue with some success. > > Any other ideas? Make the teacup pre-broken out of fiberglass or something durable and has some mass to it. Glue the pieces together with water soluble glue, probably white glue is fine if the faces mate decently tightly. Play a SFX of teacup shattering when it is 'broken'. Alternatively, making a set up with white dyed sugar glass if you have someone who can make a mold for them will give you a real broken one with non dangerous edges. The broken ones can be melted and recast as well. --Dale ------------------------------ Message-ID: <000501c50e60$7644d940$1f00000a [at] LFILaptop> From: "Thad Kramer" References: Subject: Re: You know its gonna be a bad day when your truck... Date: Tue, 8 Feb 2005 22:33:09 -0600 Those of you who have had truck problems seem to have been unluckilly stuck with Ryders. I have had problems with the same in the past. Including a gig where we got ten blocks down the road from the theater in a truck purchsed from Ryder before it died. It seems that somebody had substituted a10 amp and a 15 amp fuse for two 40 amp fuses. A day later and another show call missed truck was working fine again. Happily returning home from the first leg of a regional tour of AIDA in a Penske truck. :-P Thad Kramer, Lighting Design / Production ------------------------------ Message-ID: <42099704.57F98512 [at] cybercom.net> Date: Tue, 08 Feb 2005 23:52:20 -0500 From: Dale Farmer Subject: Re: You know its gonna be a bad day when your truck... References: Thad Kramer wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Those of you who have had truck problems seem to have been unluckilly stuck > with Ryders. I have had problems with the same in the past. Including a gig > where we got ten blocks down the road from the theater in a truck purchsed > from Ryder before it died. It seems that somebody had substituted a10 amp > and a 15 amp fuse for two 40 amp fuses. A day later and another show call > missed truck was working fine again. > > Happily returning home from the first leg of a regional tour of AIDA in a > Penske truck. :-P > > Thad Kramer, > Lighting Design / Production I've never had a problem when renting a yellow ryder truck. White ryder trucks are really old Budget rent-a-car trucks, that they bought up from sears when they decided that they needed a car rental operation in addition to their very good truck rental operation. Very different animals. Basically, of the rental place rents cars too, it's probably not a good place to rent a real truck. U-haul, of course, it to avoided like the plague. They do stupid shit like registering a truck with GVW of 12000 lbs for 13000 pounds total. that one cost a friend of mine a multi-thousand dollar ticket and having to do an emergency rental on a sunday. --Dale ------------------------------ From: "Andy Leviss" Subject: RE: Super Bowl Intermission Date: Tue, 8 Feb 2005 23:46:47 -0500 Organization: Duck's Echo Sound Message-ID: <000c01c50e62$5d04b2a0$a19afea9 [at] AndyLeviss> In-Reply-To: Chris Babbie wrote, replying to Kristi: > >I'd HOPE he's lip synching. Imagine having the live sound > plus all the > >echos. --snip-- > Me, I'd put a buncha monitors around the guy and make sure > that they were louder than the reflections. I don't think > that Paul would lipsync, but I could be wrong. If he DID, it > wouldn't be because he couldn't adequately hear himself. And, let's not forget, McCartney isn't exactly a newbie to doing huge stadiums. The Beatles were playing stadiums before I was even a glint in my parents' eyes! --Andy, en route to Houston, TX tomorrow Owner/blogger-in-chief/general Grand Poobah http://OneFromTheRoad.com Tools, Toys, and Tales for the Theatrical Technician -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005 ------------------------------ From: IAEG [at] aol.com Message-ID: <1ab.31c366e6.2f3b09d5 [at] aol.com> Date: Wed, 9 Feb 2005 01:38:13 EST Subject: Re: Super Bowl Intermission In a message dated 2/9/05 12:46:39 AM, Andy [at] DucksEchoSound.com writes: << The Beatles were playing stadiums before I was even a glint in my parents' eyes! >> ever watch footage of the famous SHEA STADIUM concert? and look at the "sound system" it's laughable by todays' standard, , if memory serves me right, , SHURE VOCAL MASTER Columns,, spaced around the stadium in the days BEFORE digital delay, , etc yikes, , , with all that screaming, , and that sound sytem, , no one heard a thing that they were singing I remember seeing Jimi Hendrix in Tampa in 1968, , in the old Curtis Hixon Convention Center, the entire sound system was two Altec Lansing Voice of the Theater systems left and right AND it was being pumped into the house ceiling cabinets, , hidden behind the suspended tile ceiling, , those old three way concentric Altec Lansing 12" jobs, did we hear anything where we were ? no way, , , just one big echo very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <4209B7A3.2000502 [at] peak.org> Date: Tue, 08 Feb 2005 23:11:31 -0800 From: Pat Kight Subject: Re: Reinforcing a teacup References: In-Reply-To: Kevin A. Patrick wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm experimenting tomorrow, but thought I would ask tonight for any > wisdom... > > For an upcoming production of "Trestle at Pope Lick Creek", the script calls > for an actor to break a teacup that in turn cuts his hand. He then plays > with the pieces, picks them up, and I believe carries them offstage. > > So, now I'm stuck with breaking a cup that does NOT cut the actor's hand. > We're trying things I don't think will work first, before we go to options > like "the actor does not cradle the cup in his hand as he forcibly strikes > the stage with it." > > Tomorrow morning I'm going to try fiberglass and resin on the inside of the > cup for about 2/3rds coverage. The idea is that 2/3rds of it will not > shatter and we can control the break. The propsmaster tried scrim and, I > think, white glue with some success. The best breakable crockery I've come up with has come from local ceramic shops. I have them pour what I want (vases, etc.), then either air-dry it or bisque-fire it. Air-dried clay is fragile and crumbly, but if you paint it inside and out with acrylic paints, it's reasonably sturdy, will hold liquids and breaks easily with no sharp edges in fact, it takes some restraint on the actor's part to keep it from shattering into powder, but it's very, very safe. What it won't give you is a sharp, crockery-breaking sound. For that, a bisque-firing creates a fragile ceramic that poses little risk to the actor. Again, paint it with acrylic. You'll need multiples, of course, and you should order more than you think you need, especially if you're going the air-dried route. If you're on a short time-line, this probably won't work for you, but I urge every props person to establish a relationship with a local ceramics shop (those paint-your-own places, for instance). I've rarely had to pay for anything but the clay; most of the time, they're glad to do the job for a free ad in the program. Even if you do have to pay, what you save in labor time and hassle over making your own is often worth it. -- Pat Kight Albany (Ore.) Civic Theater kightp [at] peak.org ------------------------------ End of Stagecraft Digest #290 *****************************