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 23433800; Fri, 01 Jul 2005 03:01:29 -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 #444 Date: Fri, 01 Jul 2005 03:01:11 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.4 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #444 1. Re: LBLR Road Notes Day 3 down what about day 4... by Herrick Goldman 2. Re: Projections and Hazers by "Dana Taylor" 3. Re: LBLR Road Notes Day 3 down what about day 4... by Steve Larson 4. Re: Pyro Cuisine by "Paul Guncheon" 5. Re: On the subject of pyro..... by "David Bowman" 6. Re: On the Subject of pyro by 7. Re: On the Subject of pyro by "Tony Deeming" 8. Re: Crew requirements for majors? by Scott Parker 9. Re: Crew requirements for majors? by "Sherman, Roger" 10. Re: Projections and Hazers by June Abernathy 11. London July 10 - 16 by CB 12. Projections and Hazers by CB 13. Re: Pyro Cuisine by Jerry Durand 14. Re: looking for curtain track hardware by Barney Simon 15. Re: looking for curtain track hardware by Barney Simon 16. Re: Projections and Hazers by "Chad Croteau" 17. Shell contents by "Abby Downing" 18. Re: Shell contents by Jerry Durand 19. Re: Shell contents by "Abby Downing" 20. Where does the responsibility lie? by Jason Tollefson 21. Re: Where does the responsibility lie? by "James, Brian" 22. Re: Where does the responsibility lie? by Dale Farmer 23. Re: On the Subject of pyro by Nathan Kahn 24. Re: Projections and Hazers by Nathan Kahn 25. Re: Where does the responsibility lie? by "ladesigners [at] juno.com" 26. Re: Crew requirements for majors? by "ladesigners [at] juno.com" 27. Re: On the Subject of pyro by "Bill Nelson" 28. Re: On the Subject of pyro by "Tony Deeming" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Thu, 30 Jun 2005 07:33:43 -0400 Subject: Re: LBLR Road Notes Day 3 down what about day 4... From: Herrick Goldman Message-ID: In-Reply-To: Always happy to be of service. Besides CB can't do it all by himself. On 6/30/05 12:09 AM, "Adam Fitchett" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Thanks for the good chuckle, and pointing out my grammatical mistakes, > really I needed that. > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-Id: Date: Thu, 30 Jun 2005 07:16:45 -0500 From: "Dana Taylor" Subject: RE: Projections and Hazers "What is "chemical fog" and how does it differ from haze, which presumably is also created by vaporizing a chemical liquid?" I said "chemical" to differntiate from a dry ice fog. My wife just walked = by and indicated that a chemical fog is probably drug induced. I have a funny wife... Thanks, Dana Dana W. Taylor Mt. Vernon Sr. High School 812.838.4356 ------------------------------ Date: Thu, 30 Jun 2005 08:30:07 -0400 Subject: Re: LBLR Road Notes Day 3 down what about day 4... From: Steve Larson Message-ID: In-Reply-To: RE: I-70 in Kansas is a toll road. Actually not all the way through. Just from KC to Topeka. Long story, boring, we just got used to it. Steve > From: Seth Richardson > Reply-To: "Stagecraft" > Date: Wed, 29 Jun 2005 20:22:38 -0400 > To: "Stagecraft" > Subject: Re: LBLR Road Notes Day 3 down what about day 4... > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Make sure you all are keeping up with Long Reach Long Riders > > > > It's good to hear that east and west have made it to Hays, Kansas. > > Now who here is thinking of learning to ride a bike, for next years > ride? I'm thinking about it... > > Seth Richardson > > > ------------------------------ Date: Thu, 30 Jun 2005 02:53:57 -1000 From: "Paul Guncheon" Subject: Re: Pyro Cuisine Message-id: <002c01c57d72$c7bddde0$c6354104 [at] yourxhtr8hvc4p> References: <> Sounds like fun... playing with your food. Any pictures? Laters, Paul "Here's another glove", Tom admitted. ------------------------------ Message-Id: Date: Thu, 30 Jun 2005 09:00:27 -0400 From: "David Bowman" Cc: deeming.tony [at] btinternet.com Subject: Re: On the subject of pyro..... Good Morning, We did something similar for a bomb gag in "Peter Pan" a few years back. We tried the Visco Fuse from Theatre Effects. Looked great standing still, but we were worried about it when it was tossed around. So, we took a "Candle Lite" flicker candle and wired that into the "bomb". With the movement of the actors tossing it around, it was hard to tell that the fuse didn't get shorter and no one seemed to mind the "lack of smoke." There was enough action that the audience was focusing on too many other things to notice that the fuse was fake. Not a "live pyro" solution, but it worked...... dave B. David M. Bowman Syracuse Stage / SU Drama Master Electrician / Adj. Professor dmbowman [at] syr.edu Dolor Temporarius... Gloria Aeterna.... Cicatrices Virgines Placent! >>> deeming.tony [at] btinternet.com 06/29/05 4:37 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I need to look into a bomb gag for panto next January. The plan is to have a cartoon-style bomb (read big black ball shape with 'BOMB' written on the side of it, and I've been asked about having a lightable fuse that can attach to it. Ideally the fuse needs to be around 6 to 9 inches long, fairly fat in diameter, lightable with a very sparkly effect, but, above all, be safe enough for 3 experienced thesps to throw between them in a typical panto style gag, before it's dropped thru the stage floor trap, (whereupon the bomb tank is utilised for the 'explosion'. There are a number of issues that will need addressing, of course - not least more than adequate ear protection etc for the crew guy below decks who catches the bomb and extinguishes the fuse, but just at the moment I'm looking for a suitable fuse to use. Any thoughts, chaps? Cheers Ynot ------------------------------ Message-ID: <003201c57d74$d8c75e70$0600a8c0 [at] lpt> From: References: Subject: Re: On the Subject of pyro Date: Thu, 30 Jun 2005 08:08:43 -0500 Organization: Minnesota Ballet > Ideally the fuse needs to be around 6 to 9 inches long, fairly fat in > diameter, lightable with a very sparkly effect, but, above all, be safe > enough for 3 experienced thesps to throw between them in a typical panto > style gag, before it's dropped thru the stage floor trap, (whereupon the > bomb tank is utilised for the 'explosion'. There are several cold effects that produce sparks that will do nicely for your fuse. I have not seen one that is flat however, just small round tubes. I think a pyro called "ice fountain" might fit the bill. They come in different burn times, up to 45 seconds. They can not be extinguished early. The cold sparks are safe and the promo says that it can be held in the and - followed by nice parentheses ( but we don't recommend it) Not sure about throwing it back and forth, any pyro would be removable to add a fresh fuse. If you could have a whole new bomb each time it could be more secure. How about one of those small plastic bowling balls with a hole drilled and then glue in the ice fountain? Kenneth Pogin Production Manager Minnesota Ballet ------------------------------ From: "Tony Deeming" Subject: RE: On the Subject of pyro Date: Thu, 30 Jun 2005 14:11:25 +0100 Message-ID: In-Reply-To: -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of productionmanager [at] minnesotaballet.org Sent: 30 June 2005 14:09 To: Stagecraft Subject: Re: On the Subject of pyro For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > Ideally the fuse needs to be around 6 to 9 inches long, fairly fat in > diameter, lightable with a very sparkly effect, but, above all, be safe > enough for 3 experienced thesps to throw between them in a typical panto > style gag, before it's dropped thru the stage floor trap, (whereupon the > bomb tank is utilised for the 'explosion'. There are several cold effects that produce sparks that will do nicely for your fuse. I have not seen one that is flat however, just small round tubes. I think a pyro called "ice fountain" might fit the bill. They come in different burn times, up to 45 seconds. They can not be extinguished early. The cold sparks are safe and the promo says that it can be held in the and - followed by nice parentheses ( but we don't recommend it) Not sure about throwing it back and forth, any pyro would be removable to add a fresh fuse. If you could have a whole new bomb each time it could be more secure. How about one of those small plastic bowling balls with a hole drilled and then glue in the ice fountain? Kenneth Pogin Production Manager Minnesota Ballet THIS sounds like the beastie I need to look at! (By the way - I said FAT, not FLAT...! 8-)) Anyone any idea who supplies these in the UK?? Tony ------------------------------ Message-ID: <90d9c9980506300740581cd42b [at] mail.gmail.com> Date: Thu, 30 Jun 2005 10:40:08 -0400 From: Scott Parker Reply-To: Scott Parker Subject: Re: Crew requirements for majors? In-Reply-To: <90d9c998050629075770aae020 [at] mail.gmail.com> References: <90d9c998050629075770aae020 [at] mail.gmail.com> Thanks everyone. The info has been very helpful. I had a meeting with the chair yesterday and he is ready to shock the system with a new requirement. The seniors will be the hardest, but I'll get to send them to the chair. Thanks, Scott On 6/29/05, Scott Parker wrote: > Greetings all, >=20 > I'm working on creating a new policies and procedures manual for my > department. Prior to my arrival, my department has been lax in > obtaining production assistance from acting Majors. Consequently, the > number of person hours available to my shop is extremely limited.--=20 Take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza=20 =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Subject: RE: Crew requirements for majors? Date: Thu, 30 Jun 2005 09:57:17 -0600 Message-ID: <0E33A2A50690F14E89579A428DA592471B6711 [at] itex04.unco.edu> From: "Sherman, Roger" Cc: Roger.Sherman [at] unco.edu (Sherman, Roger) -----Original Message----- From: Sherman, Roger Sent: Thu 6/30/2005 9:45 AM To: Stagecraft Scott Parker Subject: RE: Crew requirements for majors? =20 -----Original Message----- From: Stagecraft on behalf of Scott Parker Sent: Wed 6/29/2005 8:57 AM To: Stagecraft Subject: Crew requirements for majors? =20 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- This is our syllabus for the class we have to give credit for backstage = work on shows. Performance credit is a separate course. =20 We have a large program (about 300 majors), undergrad only. We have 5 = or so main stage shows a semester plus one acts, opera scenes and other = events. Design Tech emphases take this class 8 times, Acting emphasis = 7 times, Education less, Theatre Studies 7 times, Musical Theatre only = once or twice. We try of course to move people around into different = areas so they get a broad look at what is involved in putting on a = production. We try also to make our Introduction to Stage Technology = course a prerequist for non-design/tech types. Setting up this at the = beginning ot the semester is a tedious job with schedule changes, = outside jobs by students, family trips, etc, etc, etc. Once set up it = goes fairly smoothly as it is mostly attendence based. Hope this helps. THEA 100 Individual Performance in Theatre=20 Credits: 2 Major and minors only or consent of instructor=20 Credit is given for participation in productions of Little Theatre of = the Rockies and the College of Performing and Visual Arts. Such = participation can include promotional and technical roles. Students = will receive assignments supporting those productions and will have two = assignments per semester. The objective of the the course is to train students in all aspects of = the theatre. Not only is the versatile, well-rounded student better = prepared to enter the professional market, but also understands the = collaborative process that is theatrical production. Therefore it is = essential that students have both onstage and backstage experiences. =20 Participation possibilities include: Assistant Director=20 Production Assistant=20 Choreographer=20 Stage Management=20 Assistant Stage Manager=20 Design (Set, Lighting, Costumes, Sound) Assistant Design=20 Technical (Master Electrician, Technical Director, Master Carpenter, = Props Master, Set Dresser, Charge Scenic Artist, Sound or Light Board = Operator, Sound Engineer)=20 Carpenter, Electrician, Properties, Costumes, Paints=20 Usher, Box Office, Publicity=20 Set Run Crew=20 Costume Run Crew=20 Prop Crew=20 Fly person=20 Spot Operator=20 Other Each semester the Student should be assigned to two of these positions. Requirements: Attendance at rehearsals, meetings and performances when appropriate=20 Attendance at assigned work calls=20 Attendance needs to be timely and in appropriate dress=20 (i.e. blacks for running crews, working clothes and closed toed shoes = for shop work) Meeting of deadlines=20 Completion of assignments=20 Participation in all assigned calls=20 A design/tech position is worth 1 credit=20 A run crew position is worth 1 credit=20 Each shop section or assignment is worth 1 credit=20 Typically most of these sections consist of 28-32 hours of work, = scheduled in two hour blocks during the day according to the students = schedule=20 In addition there is a Saturday option=20 Also there are assignments for striking the scenery and lighting for = shows So if you have two sections you will need 56 hours plus attendance at = two strikes =20 Note: Norton shows and two week runs no longer will receive two credits = -=20 everyone will have two assignments=20 Grading=20 A - Perfect attendance in sections and strikes, fulfillment of all = running crew duties,=20 timely accomplishment of design/tech assignments, etc.=20 B - 1-3 absences, missing a strike, missing deadlines, lateness for = rehearsals, etc.=20 C - 4-6 absences D - 7-9 absences=20 F - 10 + absences, failure to show up for assignments, etc.=20 Absences may be made up with supervisor approval and in most cases = should be on a time and a half basis.=20 As with any theatre class, a D or F in this class will prohibit = performance or design assignments in the following semester. =20 Texts will vary by production and position and might include=20 The script of the play, musical, opera or dance=20 Research materials period and style=20 Technical drawings, draftings and paint elevations or patterns =20 Crew assignments=20 Research for promotion and publicity=20 Please remember to dress appropriately for assignments: Shop sections = require tennis shoes or boots and clothes you could get paint on. Run = crew assignments will need black clothes. =20 The material taught in this course meets the criteria outlined in the = K-12 Colorado Model Content Standards.=20 =09 =09 Greetings all, I'm working on creating a new policies and procedures manual for my department. Prior to my arrival, my department has been lax in obtaining production assistance from acting Majors. Consequently, the number of person hours available to my shop is extremely limited. Fortunately, I've been asked to creating new set of policies and procedures which shall include crew hours for all students of the department. Therefore, I'm looking to find out what other universities are requiring of their theater majors. If anyone has any publish materials I could refer to, it will go a long way in helping me Institute these new requirements. Thanks. --=20 Take care, Scott Scott C. Parker Professor/Technical Director Dept. of Performing Arts Dyson College of Arts and Sciences [at] Pace University Office/shipping: 41 Park Row, 1205F Mailing: 1 Pace Plaza=20 New York, NY 10038 212-346-1423 Fax: 914-989-8425 ------------------------------ Message-ID: <20050630184953.83307.qmail [at] web33108.mail.mud.yahoo.com> Date: Thu, 30 Jun 2005 11:49:53 -0700 (PDT) From: June Abernathy Subject: Re: Projections and Hazers >The scenic designer wants to project the various time >period slides used in "Les Mis". >I had suggested using a scrim as a projection surface >but apparently the stage director doesn't want to use >one. >Thanks for your comments. >Dana >Dana W. Taylor >Mt. Vernon Sr. High School Bummer about the scrim. On the tour, we did project some stuff against the back wall as well as the scrim. Depending on sight lines, that might work for you. I'm afraid any fog dense enough to project against would be deeply unpopular with the singers, and probably the director and/or musical director. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-Id: <3.0.6.32.20050630124723.00ccde98 [at] pop.west.cox.net> Date: Thu, 30 Jun 2005 12:47:23 From: CB Subject: London July 10 - 16 >I'd like to=20 >know if there are any theatre restoration tours that are offered similar to= =20 >the one I described above. Not exactly the same thing, but the guy that does the tour of Max Josef's Resienz Theatre (esigned by Fran=E7ois Cuvilli=E9s) is not only worth the tr= ip, but definitely worth the two or three Euro to get it. Make sure you show up right after lunch, as when we woke him up from his afternoon nap, he had all the energy of an elf from the North Pole. Also, he speaks VERY little English, but mime and charades he's fluent in. Catch a sleeper car to Munich. That'll will give you all day in Munich and a train the way back will save you hotel. The train station is on the east end of the interesting part of Munich, right near the plaza, and all the beer and shopping and tourist attractions you could want is within easy walking distance. Add that to the fact that your Euro goes farther than your Pound when you're running them on Dollars, and you can't beat it. Plus, the beer and the food are better... ------------------------------ Message-Id: <3.0.6.32.20050630125255.00ccde98 [at] pop.west.cox.net> Date: Thu, 30 Jun 2005 12:52:55 From: CB Subject: Projections and Hazers >I had suggested using a scrim as a projection surface but apparently the = >stage director doesn't want to use one. So, what is the question? Do you want to know how to get the SD to use the scrim? Or why he doesn't want to? Or what else to use? First, we need to know why he doewn't want to use a scrim. No budget? The scrim is ripped, or dirty? He needs to project from upstage and doesn't think it'll show rear projected on the scrim? A few more details woudl really help a lot... 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: <6.2.1.2.0.20050630133841.00a34748 [at] 192.168.0.13> Date: Thu, 30 Jun 2005 13:40:17 -0700 From: Jerry Durand Subject: Re: Pyro Cuisine In-Reply-To: References:

At 05:53 AM 6/30/2005, you wrote: >Sounds like fun... playing with your food. > >Any pictures? Not until our next pyro BBQ when she'll make some. BTW, fireworks shells often contain rice hulls, couscous, and other such food items. ---------- 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: <42C45A68.9080707 [at] josephchansen.com> Date: Thu, 30 Jun 2005 16:47:36 -0400 From: Barney Simon Subject: Re: looking for curtain track hardware References:

In-Reply-To: Ronald Grant wrote: >... sourcing some curtain runners for a curtain track that came >out of the UK some years ago. > If it is the Triple E, I work closely with the US importer and can help. Email me what parts you are looking for, or if you need, when I return home Tuesday, I can simply send you a price list. Barney Simon JC Hansen Co. Drapes, Drops, and Dance Floors Rentals, Sales, and Custom Sewing 889-988-8055 212-246-8055 fax 212-246-8189 www.JCHansen.com ------------------------------ Message-ID: <000d01c57db4$5f0cb220$6601a8c0 [at] cz1lbfinkbrlun> From: "Chad Croteau" References: Subject: Re: Projections and Hazers Date: Thu, 30 Jun 2005 16:43:26 -0400 Hi Dana, Have you toyed with the idea of a curtain of dry ice fog? The exact mechanics of it would need to be worked out, but if you could use a dry ice fogger, like a LeMaitre Pea Souper, to create a wall of fog, you might be able to project on that. It's not a long-lasting fog, and it won't hang in the air, so it might be worth looking at... Just a thought. Chad ------------------------------ Subject: Shell contents Date: Thu, 30 Jun 2005 18:10:19 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA2A06A3 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" "BTW, fireworks shells often contain rice hulls, couscous, and other such=20 food items." Just curious... Why? -Abby ------------------------------ Message-Id: <6.2.1.2.0.20050630151058.03ffcd98 [at] 192.168.0.13> Date: Thu, 30 Jun 2005 15:13:41 -0700 From: Jerry Durand Subject: Re: Shell contents In-Reply-To: References: At 03:10 PM 6/30/2005, you wrote: >"BTW, fireworks shells often contain rice hulls, couscous, and other >such >food items." > >Just curious... > >Why? Rice hulls take up space, are light, and CHEAP. The couscous is used to roll the stars on (you need a core of some type). Couscous and other things like it are cheap, easy to get, and the right size. Dextrin (made from flour) is often used as a glue. And other items. ---------- 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 ------------------------------ Subject: RE: Shell contents Date: Thu, 30 Jun 2005 18:32:55 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA2A06A4 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" I learn something new everyday. Thanks for the explanations! Abby ------------------------------ Message-ID: <20050630232825.49428.qmail [at] web51004.mail.yahoo.com> Date: Thu, 30 Jun 2005 16:28:25 -0700 (PDT) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Where does the responsibility lie? In-Reply-To: I would like to ask your collective opinion of an extremely unfortunate situation of which I was recently a witness. A summer company is building the final show of its season. earlier this same season the company's regular TD was sidelined due to a random accident so the majority of this final show's build has been led by the production manager. the designer's plans call for a large raked platform which is apparently (I haven't seen the platform or its plans) very complicated and costly to build. The Platform is built to the specifications of the scenic designer. They are about two weeks out from the opening of the show when someone (I don't know who) notices that the rake is too steep and in violation of the equity contract. So the rake now has to be rebuilt, again at great cost. The Artistic Director / Company Manager comes down like a ton of bricks on the Production Manager / TD while at the same time praising and promoting the scenic designer. My question is: Who is responsible in these situations to ensure that the design is in keeping with equity contract? I certainly have my own opinions but would like to here what you all think. Thanks, Jason Tollefson www.tollefsondesigns.com ------------------------------ Subject: RE: Where does the responsibility lie? Date: Thu, 30 Jun 2005 19:42:20 -0400 Message-ID: From: "James, Brian" Cc: jason [at] tollefsondesigns.com In a similar (but slightly different) situation I was witnessed, it came = down to the wording of the contract for the two position. This was = actually settled by lawyers due to the money involved........ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jason Tollefson Sent: Thursday, June 30, 2005 7:28 PM To: Stagecraft Subject: Where does the responsibility lie? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I would like to ask your collective opinion of an extremely unfortunate = situation of which I was recently a witness. A summer company is building the final show of its season. earlier this = same season the company's regular TD was sidelined due to a random accident so the majority of = this final show's build has been led by the production manager. the designer's plans call for a = large raked platform which is apparently (I haven't seen the platform or its plans) very complicated = and costly to build. The Platform is built to the specifications of the scenic designer. They = are about two weeks out from the opening of the show when someone (I don't know who) notices that the = rake is too steep and in violation of the equity contract. So the rake now has to be rebuilt, = again at great cost. The Artistic Director / Company Manager comes down like a ton of bricks on = the Production Manager / TD while at the same time praising and promoting the scenic designer. My question is: Who is responsible in these situations to ensure that = the design is in keeping with equity contract? I certainly have my own opinions but would like = to here what you all think. Thanks, Jason Tollefson www.tollefsondesigns.com ------------------------------ Message-ID: <42C48661.FC3EE79F [at] cybercom.net> Date: Thu, 30 Jun 2005 19:55:14 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Where does the responsibility lie? References: Jason Tollefson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I would like to ask your collective opinion of an extremely unfortunate situation of which I was > recently a witness. > > A summer company is building the final show of its season. earlier this same season the company's > regular TD was sidelined due to a random accident so the majority of this final show's build has > been led by the production manager. the designer's plans call for a large raked platform which is > apparently (I haven't seen the platform or its plans) very complicated and costly to build. The > Platform is built to the specifications of the scenic designer. They are about two weeks out from > the opening of the show when someone (I don't know who) notices that the rake is too steep and in > violation of the equity contract. So the rake now has to be rebuilt, again at great cost. The > Artistic Director / Company Manager comes down like a ton of bricks on the Production Manager / TD > while at the same time praising and promoting the scenic designer. > > My question is: Who is responsible in these situations to ensure that the design is in keeping > with equity contract? I certainly have my own opinions but would like to here what you all think. All of the above. The designer should be aware of and follow safety rules, whether they come from an equity contract, OSHA, or common sense. The TD should not have accepted the plans for building for the same reasons. The producer because he/she is responsible for everything that goes on and knew or should have known that the rake was too steep when they checked the plans. If it were a lawsuit, the major question is, as always, who has the deep pockets. --Dale ------------------------------ Message-ID: <77fad327050630174214a4a59b [at] mail.gmail.com> Date: Thu, 30 Jun 2005 20:42:03 -0400 From: Nathan Kahn Reply-To: Nathan Kahn Subject: Re: On the Subject of pyro In-Reply-To: References:

> THIS sounds like the beastie I need to look at! > (By the way - I said FAT, not FLAT...! 8-)) >=20 > Anyone any idea who supplies these in the UK?? >=20 > Tony Le Maitre is the UK distributor of this Austrian product: http://www.lemaitre.co.uk/prostage2/ProductDescription.asp?idxProduct=3D48&= idxCategory=3D24 They can be lit with a match or cigarette lighter. Sounds better for your needs than the fuse idea I posted. I had forgotten about them since I've been out of the pyro business for a year now.. Nathan --=20 Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Email: usa [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ Message-ID: <77fad327050630175128d1399d [at] mail.gmail.com> Date: Thu, 30 Jun 2005 20:51:02 -0400 From: Nathan Kahn Reply-To: Nathan Kahn Subject: Re: Projections and Hazers In-Reply-To: References: >> "What is "chemical fog" and how does it differ from haze, which >> presumably is also created by vaporizing a chemical liquid?" >>=20 > I said "chemical" to differntiate from a dry ice fog. My wife just > walked by and indicated that a chemical fog is probably drug=20 > induced. Oh okay, that didn't occur to me. I thought you were implying that haze isn't chemical while fog is - my mistake. I don't think you'll be able to project a discrete image onto haze, because haze isn't opaque. You'll see projected light in the air (haze) though, if that's what you're after. Nathan --=20 Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Email: usa [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 1 Jul 2005 03:36:48 GMT Subject: Re: Where does the responsibility lie? Message-Id: <20050630.203740.15419.299125 [at] webmail22.lax.untd.com> My question is: Who is responsible in these situations to ensure that the design is in keeping with equity contract? I certainly have my own opinions but would like to here what you all think. Jason Tollefson The Producer is ultimately responsible for every aspect of the show, especially contract compliance. /s/ Richard ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 1 Jul 2005 04:07:56 GMT Subject: Re: Crew requirements for majors? Message-Id: <20050630.210837.15419.299375 [at] webmail22.lax.untd.com> Regardless of the very real labor requirements of a performing arts department, there should be some way of all of this NOT appearing as 'SLAVE LABOR', as it does far too often in academia. I am so tired of attempting to interview a college graduate for employment, and having them have NO CLUE as to labor costs, which often exceed the material costs in real life. Nobody, it appears, has been taught how to estimate FICA, FUTA, SS, overtime, and Union H,W,& P contributions. Storage and maintenance costs appear to allude them, as do such mundane items as the cost of electricity, light bulbs, toilet paper, and replacing worn-out or dangerous tools. We won't even discuss fall arrest, posting of MSDS material, or negotiating successfully with the local AHJ, much less the revenue loss attributable to removing seats. /s/ Richard This is our syllabus for the class we have to give credit for backstage work on shows. Performance credit is a separate course. We have a large program (about 300 majors), undergrad only. We have 5 or so main stage shows a semester plus one acts, opera scenes and other events. Design Tech emphases take this class 8 times, Acting emphasis 7 times, Education less, Theatre Studies 7 times, Musical Theatre only once or twice. We try of course to move people around into different areas so they get a broad look at what is involved in putting on a production. We try also to make our Introduction to Stage Technology course a prerequist for non-design/tech types. Setting up this at the beginning ot the semester is a tedious job with schedule changes, outside jobs by students, family trips, etc, etc, etc. Once set up it goes fairly smoothly as it is mostly attendence based. Hope this helps. Take care, Scott ------------------------------ Message-ID: <4056.64.28.54.230.1120198212.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 30 Jun 2005 23:10:12 -0700 (PDT) Subject: Re: On the Subject of pyro From: "Bill Nelson" > THIS sounds like the beastie I need to look at! > (By the way - I said FAT, not FLAT...! 8-)) > > Anyone any idea who supplies these in the UK?? Here are some urls: http://www.theatrefx.com/funfacts103.html http://www.theatrefx.com/funfacts76.html http://www.lemaitreltd.com/prostage2/ProductDescription.asp?idxProduct=48&idxCategory=24 http://www.galaxy-fireworks.co.uk/Fireworks.asp?ID=IF120B I don't think you would want to be tossing it around between actors. How about modifying the action, where the bomb is just sitting with the burning fuse and the actors run around in a panic, not daring to get close enough to the device until the very end to touch it. They could then drop it into a trap or basket which would allow your "explosion" effect to occur. Bill ------------------------------ From: "Tony Deeming" Subject: RE: On the Subject of pyro Date: Fri, 1 Jul 2005 09:30:43 +0100 Message-ID: In-Reply-To: -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Bill Nelson Sent: 01 July 2005 07:10 To: Stagecraft Subject: Re: On the Subject of pyro For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > THIS sounds like the beastie I need to look at! > (By the way - I said FAT, not FLAT...! 8-)) > > Anyone any idea who supplies these in the UK?? Here are some urls: http://www.theatrefx.com/funfacts103.html http://www.theatrefx.com/funfacts76.html http://www.lemaitreltd.com/prostage2/ProductDescription.asp?idxProduct=48&id xCategory=24 http://www.galaxy-fireworks.co.uk/Fireworks.asp?ID=IF120B I don't think you would want to be tossing it around between actors. How about modifying the action, where the bomb is just sitting with the burning fuse and the actors run around in a panic, not daring to get close enough to the device until the very end to touch it. They could then drop it into a trap or basket which would allow your "explosion" effect to occur. Bill Yep - you're right, looking at the description, it won't suit the actual gag idea. Have to say I was a bit wary when I was asked about the effect in the first place, but, being the sort of guy who never says never (well, hardly ever!) from the go, I always pride myself on at least investigating possibilities first. Thanks for the links, and I'll keep searching for options before I go back and say that it's a no-brainer in the way they want to play it! Cheers TD ------------------------------ End of Stagecraft Digest #444 *****************************