Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 22398833; Sun, 15 May 2005 03:01:52 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #397 Date: Sun, 15 May 2005 03:01:42 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.3 (2005-04-27) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.3 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #397 1. McCandless by Judy 2. students in production by Judy 3. Re: McCandless by "Dr. Randall W.A. Davidson" 4. Re: McCandless by "Dr. Randall W.A. Davidson" 5. Re: Las Vegas things to see - WARNING e-mail clogging, off topic by "Wayne Rasmussen" 6. Re: non skid platforms by "Bill Conner" 7. Re: non skid platforms by "Bill Conner" 8. Re: Student designers for faculty directed productions... by "sboone [at] bgnet.bgsu.edu" 9. Re: non skid platforms by Jerry Durand 10. Re: remote broadcasts by Jerry Durand 11. Check out our Live Webcast Sundays 9:30 and 11 INDIANA TIME 8:30 and 10 EDT by "holyoak1" 12. Re: Student designers for faculty directed productions... by Andrew Vance 13. Disney Jobs Enquiry by "Tony Deeming" 14. Re: remote broadcasts by Jared Fortney 15. Student designers for faculty directed productions... by "Dave Tosti-Lane" 16. students designing of faculty productions etc. by "RICHARD FINKELSTEIN" 17. Re: students designing of faculty productions etc. by "Dr. Randall W.A. Davidson" 18. Re: Maybe Moving to NJ - seeking advice on NJ/NYC area by Nicholas Kuhl *** 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: <4285E0F0.8040507 [at] post.tau.ac.il> Date: Sat, 14 May 2005 13:28:48 +0200 From: Judy Subject: McCandless Jeffrey Salzberg wrote: >I always pointout to my students >that McCandless entitled his book "*A* Method of Lighting the Stage". > In fact I think it's Jean Rosenthal who pointed this out before, in her book, didn't she? I seem to remember she wrote about him as being a lovely and modest man, and that this title was so typical of him. ------------------------------ Message-ID: <4285E0FA.6020406 [at] post.tau.ac.il> Date: Sat, 14 May 2005 13:28:58 +0200 From: Judy Subject: students in production > > >What are your school/dept. >policies on student designer/tech involvement at the >creative/supervisory level? > We do this all the time, even with high-powered productions with professional directors. The student has a teacher (who is a professional him/herself) as mentor and supervisor. That generally smooths things out. It's great for the students and the productions come out good, at least on the design and tech side!. Often the students have more creative and original ideas than do more experienced professionals. The problem is generally with putting them into practice, and supervision helps with that. Another problem, I have found, is that students often lack tact and haven't learned how to talk to people properly - this is harder to deal with. This isn't the US but Tel Aviv, however I think it's a good school (nevertheless :-) ). Students coming out of here have gone on to become great professionals, a few of them work all over the world doing opera etc. and have won prizes at the Prague scenography exhibition and so on. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: McCandless Date: Sat, 14 May 2005 04:45:05 -0700 In-Reply-To: Message-ID: Strangely enough, as I was packing my lighting and electrical materials for my move to Denver, I came across my well worn copy of McCandless's book. 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 Judy Sent: Saturday, May 14, 2005 4:29 AM To: Stagecraft Subject: McCandless For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Jeffrey Salzberg wrote: >I always pointout to my students >that McCandless entitled his book "*A* Method of Lighting the Stage". > In fact I think it's Jean Rosenthal who pointed this out before, in her book, didn't she? I seem to remember she wrote about him as being a lovely and modest man, and that this title was so typical of him. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: McCandless Date: Sat, 14 May 2005 04:45:05 -0700 In-Reply-To: Message-ID: Yes, indeed, to all of us who knew him, a very modest but very professional person. Jean Rosenthal too. Pretty heavy persons in our industry. 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 Judy Sent: Saturday, May 14, 2005 4:29 AM To: Stagecraft Subject: McCandless For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Jeffrey Salzberg wrote: >I always pointout to my students >that McCandless entitled his book "*A* Method of Lighting the Stage". > In fact I think it's Jean Rosenthal who pointed this out before, in her book, didn't she? I seem to remember she wrote about him as being a lovely and modest man, and that this title was so typical of him. ------------------------------ Message-ID: <001201c5588c$ba6034a0$0617000a [at] blair.edu> From: "Wayne Rasmussen" Subject: Re: Las Vegas things to see - WARNING e-mail clogging, off topic Date: Sat, 14 May 2005 09:56:29 -0400 >>And all of that *most especially* from the saddle of nice, shiny, American-branded motorized, electrified velocipede.<< The kind with mechanical problems, or electrical? (;-) >>Of course, you might then be tempted to contribute to Mr. Sapsis' mobilized, dignified enterprise: http://www.sapsis-rigging.com/LRLR.html << A noble cause, and fun with good friends. Wayne Rasmussen Blair Academy ------------------------------ Message-ID: <001d01c55890$ea482a20$6b01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: non skid platforms Date: Sat, 14 May 2005 09:26:24 -0500 I think the non-skid stuff for under rugs - sort of a rubbery netting - is the simple answer. I put a piece under the sandbags in my truck and haven't had a bag slam against the front of the box since. Cheap - easy - tenacious. Bill ------------------------------ Message-ID: <001e01c55890$edc17260$6b01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: non skid platforms Date: Sat, 14 May 2005 09:26:29 -0500 I think the non-skid stuff for under rugs - sort of a rubbery netting - is the simple answer. I put a piece under the sandbags in my truck and haven't had a bag slam against the front of the box since. Cheap - easy - tenacious. Bill ------------------------------ Date: Sat, 14 May 2005 12:30:44 -0400 From: "sboone [at] bgnet.bgsu.edu" Message-Id: <1116088244-1662.017.381-smmsdV2.1.2 [at] smtp.bgsu.edu> Subject: Re: Student designers for faculty directed productions... In-Reply-To: Boy, does this sound familiar! My middle-aged-grumpy-knee-jerk reaction is: what would any of our directors think if I said that I was aftraid that the students that he cast in the show were "sub-par [actors], less than professional results..." etc. ??? Since when does my million dollar design make up for poopie acting?? Why are the acting students sacred and the design students not--Hmmm??? Well, okay, self aggrandizement asside, I actaully have gotten this idea across more than once (okay, maybe that's more than once a year for 18 years!). So now the new concept here is that advanced undergrad student designers get course credit (Advanced Production Practicum--nice title!) and spend four or more weeks with a faculty member working on their design prior to its due date. This is kind of equivalent to the rehearsal period that a director gets with the actors. It requires everybody involved to commit early (directors are a part of the class as well as me and the student), and allows me to make everybody think about reality early in the process. The course is now required for all Design/Tech Theatre majors once in their four years here, so we'll see how this works out! Steve Boone, TD/Scene Designer today Bowling Green State Univ. ------------------------------ Message-Id: <6.2.1.2.0.20050514103059.0297b7f0 [at] localhost> Date: Sat, 14 May 2005 10:32:12 -0700 From: Jerry Durand Subject: Re: non skid platforms In-Reply-To: References: At 11:37 AM 5/13/2005, you wrote: >Dale Farmer suggested air casters. They've been used to move the heaviest >equipment ever moved on land BUT.... you have to have an absolutely smooth >surface or they will make you old and crazy before your time. If there are >cracks or the deck is uneven keep away from them. I might also mention that the floor had better be dead level if you have a really heavy object. Otherwise, you might have to explain the large dent in the downhill wall. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-Id: <6.2.1.2.0.20050514103735.03f5b920 [at] localhost> Date: Sat, 14 May 2005 10:40:09 -0700 From: Jerry Durand Subject: Re: remote broadcasts In-Reply-To: References: At 02:59 PM 5/12/2005, you wrote: >We aren't sending shows to radio stations, but you can watch our last >Mainstage opera live on the web. Tune in to >http://www.uc.edu/ucvision/ Friday at 8:00pm EDT if you're interested. > >-Jared Fortney >UC-CCM, TD&P I watched part, but of course a client called from an installation and I had to run off (does ANYONE read the instruction manual before showing up at the install site?). Two comments on the broadcast: The audio was REALLY low, I had to turn up the volume to the point that the "incoming mail" alert just about blew me out of my chair. Also, it would be nice (but I know difficult), if the surtitles could be seen. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ From: "holyoak1" Subject: Check out our Live Webcast Sundays 9:30 and 11 INDIANA TIME 8:30 and 10 EDT Date: Sat, 14 May 2005 13:25:44 -0500 In-Reply-To: Message-ID: St. Luke's Live Webcast http://www.stlukesumc.com/upload/webcast/ Kenneth H. Holyoak ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 ------------------------------ In-Reply-To: References: Message-Id: <32567462-887E-4BC3-B8EB-385466FF5396 [at] andrewvance.com> From: Andrew Vance Subject: Re: Student designers for faculty directed productions... Date: Sat, 14 May 2005 17:39:45 -0500 On 13 May, 2005, at 09:33, Scott Parker wrote: > I would like to put together anecdotal evidence to present to these, > relatively new to academia, directors. What are your school/dept. > policies on student designer/tech involvement at the > creative/supervisory level? My undergrad was very supportive of student designers. We did 6 mainstage productions a year, as well as an active student-producing company that produced numerous semi-supported black box productions each year that were almost completely student designed & direccted. During my time there, I would say the majority of the mainstage design work was from students. In order to design, we had to take the intro & advanced design classes, usually serve in some advanced capacity on the appropriate crew [ME, ATD, etc.], and get departmental approval. Many of us served as an assistant to a faculty designer before designing on the mainstage. We were mentored by the appropriate faculty, and the faculty directors/designers treated us as full members of the production team. Departmental approval was more to ensure the prospective designer had meet the other requirements, was committed to the design, and had the necessary skill set to complete the design. We had a wide variety of student designers in my time there, including actors, art students, and stage managers, in addition to the true design students. Each had their own approach to design, and each put something unique onstage that the rest of us might not have thought of. Whoever said that its unfair to use "professionalism" as the reason for not having students design but still using student actors, is entirely correct. If my undergrad hadn't allowed student designers for one reason or another, I would have found another university that did and transfered there. Its one thing if a student lacks the skills or commitment to design, but its quite another if s/he is and is still denied the opportunity because they're not "professional enough." How are the design students supposed to learn how to work with other designers, a demanding director [or one who can't communicate his vision very well], the results of pushing deadlines, or time management while working on multiple projects simultaneously? There were all very valuable lessons that I learned from my design work in undergrad, and I can't express how incredibly grateful I am that I learned them in school instead of in the "real world." -- Sincerely, Andrew Vance Lighting Designer www.andrewvance.com ------------------------------ From: "Tony Deeming" Subject: Disney Jobs Enquiry Date: Sun, 15 May 2005 00:45:28 +0100 Message-ID: In-Reply-To: Gents. Been talking to my niece this evening, whose currently studying tech theatre (and for some reason psychology!) at Stratford in the UK. When asked her plans, she says she wants to complete her second year next year then take a gap year to do some serious work experience, and is hoping to go for six months or so at WDW in Florida. OK - I know what some of you think about the mouse etc, but I don't think there are many who'd disagree that having the Disney stamp on her CV (resume to the left-ponders) is going to do her any harm. So - the questions are: How does she best go about looking for short term employment as a tech for Uncle Walt's team? What basic stuff does she have to look to get to work in the US (Green card etc) and what qualifications would WDW in particular insist on? What about union? Is it a closed shop, or would she not be eligible as a foreign worker? What sort of openings are there and are they high-turnaround sort of jobs? Are there specific trade publications that are available (preferably UK, unless someone can post them over to me) that list job openings? She'd be looking at starting some time Summer 2006 onwards. What other questions have I NOT asked on her behalf that need answering? I'll probably get her to join this list at some stage, but as a pre-requisite it'd be nice to give her a boost. I know there's at least one of you guys who works in Orlando for WDW (which I'm annoyed I didn't realise til AFTER I'd been over there in hurricane season last August!) so any direct hints 'n' tips would be great. Here's hopin'! Cheers Ynot ------------------------------ Message-ID: <45c56d3405051417331b279c16 [at] mail.gmail.com> Date: Sat, 14 May 2005 20:33:27 -0400 From: Jared Fortney Reply-To: Jared Fortney Subject: Re: remote broadcasts In-Reply-To: References: (Un)fortunately, this broadcast is entirely managed outside the standard production departments. Another university department sets up all the gear, runs the cameras and calls the video shoot. If I can the right person, I'll try to forward your comments to improve the next one. Steve, any idea who this might be? I hope you like what you saw! -Jared Fortney UC-CCM, TD&P and soon to be TD, Circus Smirkus Anyone in New England planning to take their kids to Circus Smirkus, stop by and say hello. ------------------------------ Subject: Student designers for faculty directed productions... Date: Sat, 14 May 2005 18:48:06 -0700 Message-ID: <4F817A7A53C7F448BF62014A3A91B1C00177EF54 [at] sasha.cornish.edu> From: "Dave Tosti-Lane" Presumably, your department has a mission statement. I rather doubt it includes a line like: "To produce professional quality theatrical productions for the purpose = of enhancing the reputation of faculty directors." I'd be surprised if it didn't have something like - "To prepare students to begin a career in performing arts" - or = something like that. Gently pointing to this language might help make your point, along with = the reminder that "students" does not just mean actors. At Cornish, we have the advantage of being a separate and co-equal = department of Performance Production - The chair of the Theater = department is not in the chain of command of any of my faculty, and does = not participate in the selection process for designers. We assign = faculty or student designers to productions based on the preparedness of = the students - we try to have a student work as an assistant to a = faculty designer before we move them into the primary design spot - but = as soon as we think they are ready, we put them in the spot. Our = mission statement, in fact, includes a line that specifically states the = education of our students is our primary function, and that production = support happens only as it facilitates that goal. I always have a meeting with each new faculty or outside director to = acquaint them with this, and to let them know that they will need to = recognize that the designers, stage managers, and builders of their = shows are students just like their actors, and need to be given just as = many chances to experience failure and success. This is not an easy = thing for a director to experience, and I also make sure they know they = can call me to talk about specific problems at any time, and that the = production faculty will be right there with the student through the = process. It is rare that we find one who does not find it exciting to = work with young designers so fresh and full of excitement about their = expanding world and growing design sensibility. One thing I do that eases the transition (and the worries of directors) = is to offer my faculty area heads (one for each of the design areas, = stage management, and technical direction) additional release time in a = semester when they have a first-time student designer. So, if my scenic = design area head has two first time designers, I'll give them the = equivalent of at least one full class release time. (we use faculty = contact hours as a measure - 16 per semester is full time, I give 2 = contact hours release for each first time designer) This recognizes the = reality that the faculty person is going to be putting in a great deal = of time supporting the student in that first full experience of being = primary designer. If my area heads are already fully booked with = classes that they don't want to give up, I hire outside designers to = come in and act in these support roles, or to take on classes to free up = my area heads. When faculty do take on a design, I allow 5 contact = hours - or roughly 30% of a full time load - for a design assignment. I have held firmly to the idea that design for production, and these = support roles, are NOT things faculty can do on TOP of their workload, = but are an integral part of their full time load, calculated right along = with classes when figuring out that load. That's not an easy battle = every year at budget time, but I think it is essential. In terms of the = present question, it is what allows us to take the time with students so = that they will be ready for those design assignments, and so that the = experiences directors have with student designers are good ones. And = they are, by and large, _very_ good ones. One other thing that helps us here - we involve Theater department = faculty in our design classes as well. We invite them to come in to our = fundamentals classes to see the work of the students, and to provide = directors points of view to students just starting out in design. We = bring them (and theater directing students) into our main 3rd year = design studios so that they can get to know the students before they = will see them as designers on productions. The result is that they = often are delighted to get student designers on their productions, = because they already have had a chance to see how exciting the ideas of = young designers can be. And the student designers already know how to = function in a collaboration with them. Dave Tosti-Lane Chair, Performance Production Cornish College of the Arts www.cornish.edu ------------------------------ Message-ID: From: "RICHARD FINKELSTEIN" Subject: students designing of faculty productions etc. Date: Sat, 14 May 2005 22:36:23 -0400 Wow, actually there are a LOT of issues opened here! 1. On this specific topic, it is indeed how astonishingly fearful many University faculty directors are. I always think of Prime of Miss Brodie. These "teachers" are often in it to be "loved". Theaching to them is therapy. This brings me to the tough part of the issue. When one is dealing with one of these academic/paranoid types of directors one can get into trouble. If they do not feel that it would be wise to use a student designer BEWARE. The director may either consciously or not sabotage the efforts of this student! I have seen some tragic results. Alas a faculty member must really be eager to partner and mentor a student for the relationship to be successful, and they also have to be a very giving teacher. Some directors fit this bill but again, many are into teaching to RECEIVE love, not to give it. Forcing a relationship can become a BIG problem. 2. An interesting ironical twist on this. So many of you (mostly the powerful MFA type schools) correctly relate that most to all shows on your mainstage are designed by students. That's actually common. But ponder this: Why then aren't students DIRECTING on the Main Stage??? 3. Another irony, that applies less to BFA/MFA programs involves this terrible misuse of the word "Professional" in the academic world of theatre. Others have talked on this issue but I have a few unique phrases. I often go to statewide High-School Drama conferences, and of course remember my own time in High School. I have yet to meet a HS Drama teacher (or students) that don't claim to "be doing professional theatre at their school". I ask a simple question that often causes the color to drain from their faces..... "Does this mean you have a Pro Football team here as well?" and "Does your music program boast a professional philharmonic orchestra?" For some reason the word "professional" hardly ever applies to any other academic venture, while it is always applied universally to "theatre". Do all of your schools do "professional Biology?" (some do actually). Again, some Universities have Regional theatres attached etc. so there is some claim to the term. My thoughts are that the word has been rendered meaningless. If every highschool out there is doing "professional theatre" what after all is the value of good schools claiming to be in the same camp? A school's reputation is determined by the aftermath, where students go beyond the school, and therein lies the reward. And there is no shame in a school admitting to be......a school! Richard Finkelstein ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: students designing of faculty productions etc. Date: Sat, 14 May 2005 20:48:17 -0700 In-Reply-To: Message-ID: Richard you constantly hit the nail on the head, no mean task for theatre people. Good thinking. Reasonable. And a touch of reality. Thank you Richard. 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 RICHARD FINKELSTEIN Sent: Saturday, May 14, 2005 7:36 PM To: Stagecraft Subject: students designing of faculty productions etc. For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Wow, actually there are a LOT of issues opened here! 1. On this specific topic, it is indeed how astonishingly fearful many University faculty directors are. I always think of Prime of Miss Brodie. These "teachers" are often in it to be "loved". Theaching to them is therapy. This brings me to the tough part of the issue. When one is dealing with one of these academic/paranoid types of directors one can get into trouble. If they do not feel that it would be wise to use a student designer BEWARE. The director may either consciously or not sabotage the efforts of this student! I have seen some tragic results. Alas a faculty member must really be eager to partner and mentor a student for the relationship to be successful, and they also have to be a very giving teacher. Some directors fit this bill but again, many are into teaching to RECEIVE love, not to give it. Forcing a relationship can become a BIG problem. 2. An interesting ironical twist on this. So many of you (mostly the powerful MFA type schools) correctly relate that most to all shows on your mainstage are designed by students. That's actually common. But ponder this: Why then aren't students DIRECTING on the Main Stage??? 3. Another irony, that applies less to BFA/MFA programs involves this terrible misuse of the word "Professional" in the academic world of theatre. Others have talked on this issue but I have a few unique phrases. I often go to statewide High-School Drama conferences, and of course remember my own time in High School. I have yet to meet a HS Drama teacher (or students) that don't claim to "be doing professional theatre at their school". I ask a simple question that often causes the color to drain from their faces..... "Does this mean you have a Pro Football team here as well?" and "Does your music program boast a professional philharmonic orchestra?" For some reason the word "professional" hardly ever applies to any other academic venture, while it is always applied universally to "theatre". Do all of your schools do "professional Biology?" (some do actually). Again, some Universities have Regional theatres attached etc. so there is some claim to the term. My thoughts are that the word has been rendered meaningless. If every highschool out there is doing "professional theatre" what after all is the value of good schools claiming to be in the same camp? A school's reputation is determined by the aftermath, where students go beyond the school, and therein lies the reward. And there is no shame in a school admitting to be......a school! Richard Finkelstein ------------------------------ Message-ID: <4286EDF5.1030506 [at] bu.edu> Date: Sun, 15 May 2005 02:36:37 -0400 From: Nicholas Kuhl Subject: Re: Maybe Moving to NJ - seeking advice on NJ/NYC area References: In-Reply-To: > >If you were to live in/around Newark, where would you live and why? Any knowledge on schools (we have a 10 year old son), shopping, hospitals, etc.? > > > Wish I'd caught this thread earlier. I call Montclair, NJ home these days between school years, and if you can afford it (and that's getting to be a big if, my family bought our house 25+ years ago, and we couldn't have bought it today) it's a pretty nice place. The school system certainly isn't bad, the elementary schools were really good when I was in them, and I think still are. There's three middle schools, which have decent reps, two of which have theatre open to students. The high school has a better rep on paper than in the real world, but with a little bit of self-motivation a kid can get a lot out of it, and there are a bunch of really good classes and it's a pretty nice place for a high school. Plus the high school theatre is in amazingly good shape and currently has some really good faculty taking care of it (I'm in theatre now because of that program, I graduated from Montclair High last year, and spent all of my formative years in the public school system). The town itself is pretty nice and fairly safe, and very green, and is entertaining enough for all ages. If you like the area, you can go up the hill to Verona, which is cheaper, I don't think the schools are as good, but I don't think they're horrible either. Clifton as has been mentioned is nearby, and not a bad looking place, though I can't say much else since I only pass through it and don't know anyone there. Glen Ridge is down the hill from us, and more expensive and not (in my not so humble opinion) a place you want to live, as it is almost all upper class and white (Montclair is getting there, despite our claims of diversity, but we're no where near as bad, your son certainly won't be one of those folks at college who went to a school with three black people). Then there's the Oranges, parts of which are horrible, parts of which are nice, and Ridgewood is not to far, and pretty nice. There's Bloomfield, which seems to rate with the Oranges, and that pretty much covers my area of NJ. All of this is about 45 minutes from the city in normal traffic, 15 minutes at three in the morning driving 90 on route 3, and a couple hours if you get sucked into rush hour traffic. Or you can take public transportation, 5-7 dollars round trip on a train depending what town you get on/off at, and I'm not sure what the bus costs (I always take the train), though I believe it's more expensive. That's everything I can think of at this late (early) hour, feel free mail me off list if you have any questions. Nick Kuhl Boston U ------------------------------ End of Stagecraft Digest #397 *****************************