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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 24691528; Wed, 14 Sep 2005 03:01:25 -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 #519 Date: Wed, 14 Sep 2005 03:00:28 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-4.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, BIZ_TLD autolearn=unavailable version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #519 1. Re: Tech theatre games by "Davis, Thomas J" 2. Re: Tech theatre games by "Zirngibl, Ryan John" 3. Former student displaced by Katrina by "Blaugher, Kurt E." 4. Baltimore/DC Area Work by "Sam Fisher" 5. Re: Singin' In The Rain by Michael Powers 6. Archives by Mark O'Brien 7. Re: Former student displaced by Katrina by "Klyph Stanford" 8. Paint deck by "Fred Schoening, Jr." 9. Re: Archives by "Paul Schreiner" 10. Re: Archives by Mark O'Brien 11. Re: Archives by "Paul Schreiner" 12. Re: Archives by Mark O'Brien 13. Re: Paint deck by doran [at] bard.edu 14. Re: Counterweight Rigging Operation by "Frank E. Merrill" 15. Re[2]: Counterweight Rigging Operation by "Frank E. Merrill" 16. Re: Lights for the deaf in Music Performances by "C. Dopher" 17. Re: Lights for the deaf in Music Performances by "C. Dopher" 18. Re: Lights for the deaf in Music Performances by "Storms, Randy" 19. Re: Graduate student displaced by Katrina seeking school by "Michael Finney" 20. Re: Help with show selection by CB 21. Re: Paint deck by Chris Purpura 22. Re: Rental/Liability by June Abernathy 23. Re: Rental/Liability by Stephen Litterst 24. Re: Counterweight Rigging Operation by "John D. Palmer" 25. Theatre Management Software by Chris Rovers 26. USITT-Chesapeake Section Expo & Symposium by gregg hillmar 27. Re: Lights for the deaf in Music Performances by FrankWood95 [at] aol.com 28. Re: Lights for the deaf in Music Performances by FrankWood95 [at] aol.com 29. Re: dwg viewer by Patrick McCreary 30. Re: Rental/Liability by FrankWood95 [at] aol.com 31. Re: Singin' In The Rain by Andrew Hall 32. Re: Counterweight Rigging Operation by Brian Munroe 33. Re: Theatre Management Software by Scott Parker 34. Re: Paint deck by Dale Farmer 35. Re: Lights for the deaf in Music Performances by nwwheatl [at] ius.edu 36. Re: Lights for the deaf in Music Performances by Bruce Purdy 37. Re: Stagecraft by "RD" *** 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. ---------------------------------------------------------------------- Subject: RE: Tech theatre games Date: Tue, 13 Sep 2005 08:49:18 -0400 Message-ID: <3CF87682970858499CA56707FB1F092B0A9249 [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of JAMES = CRAIG Sent: Monday, September 12, 2005 5:56 PM To: Stagecraft Subject: Tech theatre games For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Does anyone on the list know any fun/educational technical theatre games = for=20 high school students? Jim ____________________________________________________________ No offense, but I can remember the days when working on the set and = lights for the play was the fun part. But some of the other things I've done- Divide into teams and design a board stretcher. The most creative = solution gets a Rube Goldberg award (or a "Mousetrap" game, if you can = find one on eBay). Have them develop some new theater oriented practical jokes. Having = people wash gel is pass=E9. Although, if anyone knows where I can lay = my hands on some old gelatin gels, let me know. How many out there are = old enough to have dissolved a gel on their first day on the high school = tech staff? Have a mystery or treasure hunt (hunt for the "royal screws"- oops, = high school students, you might want to choose a different treasure) = that involves them in traveling through all the spaces in the theater = (leave clues- piece of hardware, part of a light, jar of make-up- in = each space that lead them to another room or area). More fun than the = usual "guided tour". Turn out all the lights and tell theater ghost stories. In a couple = places I've worked, when you turn out the lights, the ghosts will tell = their own stories.... Tom D ------------------------------ Subject: RE: Tech theatre games Date: Tue, 13 Sep 2005 08:30:33 -0500 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B03834597 [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" =20 One thing our student chapter at UW-Eau Claire had done is created a "light twister" board. We set up a number of lights (16 usually) and shutter them down to little squares then I created a spinner with the colors and the hand or foot used to try to reach the color. This isn't overly tech I know because it only involves a few people during set up, but one thing I've wanted to do for a while and not had the time yet is to hang multiple lights that are shuttered to the same area and while the game is going on change the colors through use of color theory and make people try to keep up with the changes and the spinner(that'll keep the players on their toes). No matter what you do make it fun and be sure to post games you've come up with, I'm always looking for new student chapter banquet games. Ryan J. Zirngibl University of Wisconsin - Eau Claire Student-Theatre Arts Scenic Designer ------------------------------ Subject: Former student displaced by Katrina Date: Tue, 13 Sep 2005 10:08:05 -0400 Message-ID: <3CD10A61D8686F47971BA106EF45357401247A72 [at] msmexbe.domain.msmary.edu> From: "Blaugher, Kurt E." Cc: jimwitt [at] starband.net Cc: mbrown1808 [at] yahoo.com I'm writing to tap the wisdom and backgrounds of the Stagecraft list = members, especially those in the Washington, DC/Baltimore metropolitan = area: A former student who had been living in New Orleans until the hurricane = has moved back home to central Maryland. He had been planning to work = one more year there, and was in the process of applying to graduate = programs in Design in the Northeast. He's still planning his Design = program search for next academic year (2006-07), but now needs to = explore job possibilities in the MD/DC/central PA/northern VA region. = He's been working as a graphic designer in the daytime and as a lighting = person in the "not-daytime." My colleague and I have given him leads that we know of, but any = direction that the wisdom of the list might have would be greatly = appreciated. Please reply directly to blaugher [at] msmary.edu ; I'll forward all messages = and ideas to him. Any help will be greatly appreciated.=20 Kurt E. Blaugher, Ph.D. Associate Professor and Chair Visual and Performing Arts Mount Saint Mary's University 16300 Old Emmitsburg Road Emmitsburg, MD=A0 21727 blaugher [at] msmary.edu Office 301-447-5308 Fax 301-447-7401 ------------------------------ From: "Sam Fisher" Subject: Baltimore/DC Area Work Date: Tue, 13 Sep 2005 10:08:33 -0400 In-Reply-To: Message-ID: I seeking resumes of anyone in the Baltimore / Washington area looking for full time, part time, and/or over hire work. Current immediate need is for a part time carpenter and over hire technicians. Please contact me off list. Sam Fisher General Manager / VP Fisher Theatrical, LLC. 410-487-0100 office 410-487-0090 fax All information contained in this email, including any attachments, is to be treated as Confidential. ------------------------------ Message-ID: <58f67b0f05091308043d16a7bc [at] mail.gmail.com> Date: Tue, 13 Sep 2005 11:04:00 -0400 From: Michael Powers Reply-To: mptecdir [at] gmail.com Cc: lightkeepr [at] networld.com (Jeb Bruce) Subject: Re: Singin' In The Rain From: "Jeb Bruce" writes <<...........Anyone have details on rain systems they have made/used? Any suggestions would be great! >> Jeb, A few years ago I wrote some articles on water on stage. They can be found= at=20 http://www.hstech.org/howto/water/water.htm If I can be of any help, contact me directly. --=20 Michael Michael Powers 413-863-4376 home 413-522-3036 cell ------------------------------ In-Reply-To: References: Message-Id: <6a791b6900c7c00e117becb8befbbca5 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Archives Date: Tue, 13 Sep 2005 08:21:25 -0700 Do searchable archives exist for this list? I have tried using the=20 search function on the website, and I get a error like this one... Safari can=92t open the page=20 =93http://stagecraft.theprices.net:81/stagecraft/FMPro=94 because it = could=20 not connect to the server =93stagecraft.theprices.net=94. I was looking for an article on Les Mis regarding an idea for "safe=20 suicide". A local group is doing the show, and I am trying to help=20 them simplify their show. I have already nixed the turntable, and the=20= rope is next. Any ideas? Mark-O Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: <001f01c5b878$ae599560$8f44ff0a [at] Klyphsmachine> Reply-To: "Klyph Stanford" From: "Klyph Stanford" References: Subject: Re: Former student displaced by Katrina Date: Tue, 13 Sep 2005 11:34:50 -0400 Contact me off list and I can give some directions to look in. ----- Original Message ----- From: "Blaugher, Kurt E." To: "Stagecraft" Cc: ; Sent: Tuesday, September 13, 2005 10:08 AM Subject: Former student displaced by Katrina For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm writing to tap the wisdom and backgrounds of the Stagecraft list members, especially those in the Washington, DC/Baltimore metropolitan area: A former student who had been living in New Orleans until the hurricane has moved back home to central Maryland. He had been planning to work one more year there, and was in the process of applying to graduate programs in Design in the Northeast. He's still planning his Design program search for next academic year (2006-07), but now needs to explore job possibilities in the MD/DC/central PA/northern VA region. He's been working as a graphic designer in the daytime and as a lighting person in the "not-daytime." My colleague and I have given him leads that we know of, but any direction that the wisdom of the list might have would be greatly appreciated. Please reply directly to blaugher [at] msmary.edu ; I'll forward all messages and ideas to him. Any help will be greatly appreciated. Kurt E. Blaugher, Ph.D. Associate Professor and Chair Visual and Performing Arts Mount Saint Mary's University 16300 Old Emmitsburg Road Emmitsburg, MD 21727 blaugher [at] msmary.edu Office 301-447-5308 Fax 301-447-7401 ------------------------------ Message-ID: <1707627.1126627239243.JavaMail.root [at] mswamui-thinleaf.atl.sa.earthlink.net> Date: Tue, 13 Sep 2005 11:00:39 -0500 (GMT-05:00) From: "Fred Schoening, Jr." Reply-To: "Fred Schoening, Jr." Subject: Paint deck Howdy, folks! We're in the process of moving into a new (to us) production facility and I'm wondering if any of you have good ideas for what to put down for a paint deck. I've got a bunch of used plywood available (3/4" and 1 1/8".) Also, the powers that be are hesitant to fasten anything to the concrete floor. Thanks in advance, Fred -- "Big Fred" Schoening Technical Director Dallas Theater Center Dallas, Texas, USA 214 920 9911 x122 <--- NEW NUMBER! "...a root word of technology, techne, originally meant 'art.' The ancient Greeks never separated art from manufacture in their minds, and so never developed separate words for them." -- Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance ------------------------------ Subject: RE: Archives Date: Tue, 13 Sep 2005 12:00:41 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C949 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Do searchable archives exist for this list? I have tried using the=20 > search function on the website, and I get a error... Noah can answer this better than I, but the archives on the website (IIRC) are older ones that aren't automatically updated EXCEPT for copies of the digest. They aren't searchable by term, unless you Google them. There's a beta version of a new archive he's working on, but they're not open yet. > I was looking for an article on Les Mis regarding an idea for "safe=20 > suicide". A local group is doing the show, and I am trying to help=20 > them simplify their show. I have already nixed the=20 > turntable, and the=20 > rope is next. Any ideas? Rope? Since when does Javert use a rope for his suicide? He's supposed to jump off a bridge... That being said, I've got the most recent discussion of this in my Gmail. I'll forward the relevant portions to you privately... ------------------------------ In-Reply-To: References: Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Archives Date: Tue, 13 Sep 2005 09:09:48 -0700 Rope? Sorry, not a hanging rope, I meant dropping harness... Me bad. Mark-O Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Sep 13, 2005, at 9:00 AM, Paul Schreiner wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> Do searchable archives exist for this list? I have tried using the >> search function on the website, and I get a error... > > Noah can answer this better than I, but the archives on the website > (IIRC) are older ones that aren't automatically updated EXCEPT for > copies of the digest. They aren't searchable by term, unless you > Google > them. > > There's a beta version of a new archive he's working on, but they're > not > open yet. > >> I was looking for an article on Les Mis regarding an idea for "safe >> suicide". A local group is doing the show, and I am trying to help >> them simplify their show. I have already nixed the >> turntable, and the >> rope is next. Any ideas? > > Rope? Since when does Javert use a rope for his suicide? He's > supposed > to jump off a bridge... > > That being said, I've got the most recent discussion of this in my > Gmail. I'll forward the relevant portions to you privately... ------------------------------ Subject: RE: Archives Date: Tue, 13 Sep 2005 12:13:03 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C94A [at] exchange.rmwc.edu> From: "Paul Schreiner" > Rope? >=20 > Sorry, not a hanging rope, I meant dropping harness... S'okay. Check your email. You should have a bunch o' stuff from me now. > Me bad. But in a good way, I hope... ------------------------------ In-Reply-To: References:

Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Archives Date: Tue, 13 Sep 2005 09:15:43 -0700 Paul found the info on what I needed. Thank you. I think it is about time to move this account to G-mail. Mark-O Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: <1126629452.4327004c1574f [at] webmail.bard.edu> Date: Tue, 13 Sep 2005 12:37:32 -0400 From: doran [at] bard.edu Cc: bigfred [at] mindspring.com (Fred Schoening, Jr.) Subject: Re: Paint deck References: In-Reply-To: Fred, Can you "float" a floor? We have put 2x4 flat or 2x2 firring on neoprene bumpers or feet, if you will, and then put down a sub floor of 3/4" CDX Ply, and then another layer of ply on that, and then an MDF or battleship linoleum on that, depending on what we're doing with it. The battleship linoleum is good for dance, and doesn't change shape or size so much as Marley with heavy use. The MDF is good paintin'. Are you moving out of the Arts District Theater Barn? Good luck, Andy Champ-Doran Technical Director Bard College Departments of Dance and Theater Quoting "Fred Schoening, Jr." : > We're in the process of moving into a new (to us) production > facility and I'm wondering if any of you have good ideas for > what to put down for a paint deck. I've got a bunch of used > plywood available (3/4" and 1 1/8".) Also, the powers that be > are hesitant to fasten anything to the concrete floor. > "Big Fred" Schoening > Technical Director > Dallas Theater Center ------------------------------ Date: Tue, 13 Sep 2005 11:47:51 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <86484007.20050913114751 [at] tcon.net> Subject: Re: Counterweight Rigging Operation In-Reply-To: References:

Howdy ! Monday, September 12, 2005, Ken from Minnesota wrote about Masonic theatres: > It was amazing to see how many lines they had stuffed into the small > stage space. The very lovely Scottish Rite cathedral here in Indianapolis has tee bar sets on 4 inch centers! I was astonished the first time I saw their rig. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.60 mailto:Lamplighter [at] tcon.net ------------------------------ Date: Tue, 13 Sep 2005 11:50:34 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1926251938.20050913115034 [at] tcon.net> Subject: Re[2]: Counterweight Rigging Operation In-Reply-To: References: Howdy ! Monday, September 12, 2005, Dan Culhane wrote: > SECOA did install a system about 5 years ago where the architect insisted > that the lock rail on a single purchase system be located on an elevated > platform on the other side of the stage. I'm trying to visualize... Does that mean that the arbors are on stage left and the locks are on stage right? Sure sounds like a whole lotta Manilla... Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.60 mailto:Lamplighter [at] tcon.net ------------------------------ Date: Tue, 13 Sep 2005 13:32:59 -0400 Subject: Re: Lights for the deaf in Music Performances From: "C. Dopher" Message-ID: In-Reply-To: <005201c5b7b8$bfc60ba0$6701a8c0 [at] Dell> On 9/12/05 12:40 PM, "Jeffrey E. Salzberg" wrote: > >> Nate, I suspect most of the time lighting for orchestral >> performance isn't overly fancy for the simple reason that, >> for hearing audiences, it would get in the way. > > Also: > > You absolutely *may not* do anything that negatively impacts the players' > ability to read their music. This includes anything that would cast a > shadow or even change colors on the scores; at least one orchestra that I > know of has a contract provision that prohibits this. Very true. I've lit a lot of orchestral performances and the first system I plot is a bunch of downlight right onto the music stands and then I plot lots to get the conductor lit without any spill into performers' eyes. That said, the submitter was asking about a situation in which they might give a certain amount of leeway in order to get to the primary goal of making the music visual. The last time I did something as purely gut-reaction-translated-to-finished-lights as this was my final project in Lighting II in undergrad. It was fun! To the submitter: you have to be pure designer on this one. Close your eyes, listen to the music, and your imagination will show you how the piece has to be lit. I really don't think it's more complicated than that. Cris Dopher ------------------------------ Date: Tue, 13 Sep 2005 13:36:35 -0400 Subject: Re: Lights for the deaf in Music Performances From: "C. Dopher" Message-ID: In-Reply-To: On 9/12/05 9:34 PM, "Occy" wrote: > That's why we have and use music stand lights for concerts that use colored > light on the orchestra. I hate to ask, but it's been my experience that when music stand lights are the acceptable solution -- we're not talking about a Philharmonic... What orchestra are you lighting for, Occy? And music stands lights or not, if other lights negatively impact the performers...as in - "that light over there is blinding me", then that light invariable ends up off or refocused.... Cris Dopher ------------------------------ Subject: RE: Lights for the deaf in Music Performances Date: Tue, 13 Sep 2005 10:53:31 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C023 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" True that. Orchestras are notorious whiners! Makes me want to say, = "The lights are in your eyes? Hey, welcome to show biz!" (#2 on my = list of annoying orchestra demands - "special" chairs for the cello = section. The difference? They are 3/4" taller...) A third, unrelated orchestra peeve of mine is the way they insist on = curtain calls between pieces. How freakin' pretentious. But maybe I'm = just cranky today. -- r. Randy Storms rstorms [at] bham.wednet.edu _______________________________ > You absolutely *may not* do anything that negatively impacts the = players' > ability to read their music. This includes anything that would cast a > shadow or even change colors on the scores; at least one orchestra = that I > know of has a contract provision that prohibits this. ------------------------------ Subject: Re: Graduate student displaced by Katrina seeking school Date: Tue, 13 Sep 2005 11:24:57 -0700 Message-ID: From: "Michael Finney" On Mon, 12 Sep 2005 "Thomas Schraeder" wrote <>=20 <>=20 <> < Let me say that back in the days when I was still able to afford to work LORT theatres (and fondly do I remember fighting the saber tooth tigers for that last cheap beer at the bar at the end of the hard day of building scenery in the big cave by the river), we always knew we could count on the Wayne State grads to be well prepared and very professional. Even the actors! (KIDDING!!!!! We had *great* actors come to us our of Wayne State). While I haven't had a chance to hire a Wayne State grad in a few years, I keep hearing good things about their program from those who have. I'm not dissing any other programs - you're all still pretty....But this might be a good opportunity for somebody to make a move into a quality program on short (and potentially very disruptive) notice....=20 Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com www.thinkwelldesign.com =20 ------------------------------ Message-Id: <3.0.6.32.20050913121629.00b0bd10 [at] pop.west.cox.net> Date: Tue, 13 Sep 2005 12:16:29 From: CB Subject: Re: Help with show selection >Believe me when I say I was devistated by her reaction and response. Kind >of a How dare you make it ok to laugh at those people lecture. It almost >brought me to tears since that was far from my goal. OTOH, ya can't please everyone. Some people are going to be too sensitive to some material, and won't have an objective view. Holding a door nowadays hs its own political ramifications. Some women will feel that you weren't raised right if you don't, some will feel that you are insulting them if you do, I judt hold the door for everyone, regardless of gender, and let them work their own issues out. Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <43272938.3070308 [at] jonesphillips.com> Date: Tue, 13 Sep 2005 14:32:08 -0500 From: Chris Purpura Subject: Re: Paint deck References: Fred, I've worked with and built a "floating floor" before. The floor was a bunch of squares that pieced together, we new our production spaces would move several times (make sure you label the pieces before you move). We used 2x2 firring strips with little bumpers on the bottom for feet. Then used a sub floor 3/4" CDX Ply and another layer of CDX. We topped off one paint deck with plyron and the other with MDF. The MDF worked well. I personally like having a lip or overhang on the edge of the paint deck to pull and tuck some kinds fabric. Chris Fred Schoening, Jr. wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Howdy, folks! > >We're in the process of moving into a new (to us) production >facility and I'm wondering if any of you have good ideas for >what to put down for a paint deck. I've got a bunch of used >plywood available (3/4" and 1 1/8".) Also, the powers that be >are hesitant to fasten anything to the concrete floor. > >Thanks in advance, >Fred > > > ------------------------------ Message-ID: <20050913194056.40836.qmail [at] web33105.mail.mud.yahoo.com> Date: Tue, 13 Sep 2005 12:40:56 -0700 (PDT) From: June Abernathy Subject: RE: Rental/Liability It's certainly worth mentioning that there are serious life safety issues here, but overdoing that aspect might have them start thinking about what you and your students may do, if it's all that dangerous. You should definately keep a very accurate inventory and inspect the condition of the equipment on a regular basis, so you can have some paperwork backup to any claims of items missing or items damaged. Document anything wrong after a group has been in - including not only broken or missing stuff, but equipment left out of place, any doors or safety chains or whatever left off of hatch or catwalk openings, lights left on, any areas not cleaned up after use, etc. If there are specific expensive and delicate items that you have but would rather not have visiting groups trash, you might examine the possibility of storing them somewhere that the custodians do not know about or have access to. Does the agreement that the school district have with these groups contain anything about equipment that they may or may not use, or about the condition that they must leave the theater in? Are they required to strike what they hang? Are they required to restore any house plot? (Lights or soft goods). Are they required to clear their show cues/patch off the lighting console? (For that matter, are you leaving them yours? If so,why?)Do they have to restore settings on the sound console? Turn off lights, put away tools and equipment, shut down consoles, clean stage and dressing rooms? Any charge for expendables used? If you can't get a supervisory person as a requirement in the contract, maybe you can get some of the above provisions in the contract. The visiting groups may decide that hiring someone to look after such things is easier than dealing with it themselves. Finally, though, be careful what you wish for. Because if you convince the powers that be to decide that someone must be there whenever these groups are, it might mean that you suddenly have to be there A LOT more than you do now, and there is no guarantee (or even likelihood) that they will want to hire someone else for the purpose, or even pay you more for all the added work. My .02 - 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 ------------------------------ Date: Tue, 13 Sep 2005 15:50:42 -0400 From: Stephen Litterst Subject: Re: Rental/Liability In-reply-to: Message-id: <43272D92.8010307 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: June Abernathy wrote: > --------------------------------------------------- > You should definately keep a very accurate inventory > and inspect the condition of the equipment on a > regular basis, so you can have some paperwork backup > to any claims of items missing or items damaged. > Document anything wrong after a group has been in - > including not only broken or missing stuff, but > equipment left out of place, any doors or safety > chains or whatever left off of hatch or catwalk > openings, lights left on, any areas not cleaned up > after use, etc. To this I would add: Document the time it takes you to return the space to what it should be after each group leaves. Doing this adds in a monetary figure of what it's costing your school to clean up after these outside groups. If you can get info from the custodians on their time, include that, too. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <002901c5b89f$d0ad8230$6601a8c0 [at] Toshiba2> From: "John D. Palmer" Subject: Re: Counterweight Rigging Operation Date: Tue, 13 Sep 2005 13:14:57 -0700 Hi Folks, What seems to be described is what I believe was called a "Tunnel Track" system. The operator stands between the two operating lines. Haven't we discussed this before or is the drink getting to me? The Warner Theatre in Fresno, Ca. had a single purchase "Tunnel Track" system with the operator on the stage floor. I don't know if it is still there, but I suspect it is. 600lbs max. capacity. Of course the system had many, many, many other problems. The theatre also had a water powered elevator. Be safe, John John D. Palmer Palmer & Company Design & Production (213) 453-1547 ------------------------------ Message-ID: Date: Tue, 13 Sep 2005 17:31:18 -0400 From: Chris Rovers Reply-To: crovers [at] gmail.com Subject: Theatre Management Software Hi, all Wondering what people have found for theatre management software?=20 Windows/Unix/BSD. I'm not talking about ticket software, I've seen those discussions, but rather venue rental and scheduling, primarily.=20 We basically want to make sure we don't overbook the site, that rehearsals and tech weekends and performances go in early, so we can see what holes we can fill with income producing rentals. It'd be nice to show, as well, when a space would be loaded for a play (because that makes rentals impossible, but other rehearsals would be possible), etc. Webbased would be great, as well. And cheap. If I have to, I'll write it, but I'd rather not - I'm occupied actually building the (tiny) theatre in question. Thanks -cdr ------------------------------ Message-Id: From: gregg hillmar Subject: USITT-Chesapeake Section Expo & Symposium Date: Tue, 13 Sep 2005 17:41:23 -0400 Cc: usittchesap [at] lists.usittchesapeake.org, usittchesapeake [at] yahoogroups.com Cc: USITTOhioValleyMembers [at] yahoogroups.com Due to circumstances beyond our control, the Architectural Symposium scheduled for FRIDAY, September 16th has been cancelled. The USITT-Chesapeake Section's yearly EXPO, scheduled for Saturday, September 17th, WILL PROCEED as scheduled. We look forward to seeing you all on Saturday. Preregistration (and membership updates) are being accepted online at http://www.usittchesapeake.org Workshop schedules, a map of Catholic University (who is hosting the EXPO), and directions to find the EXPO are also available online. gregg USITT-Chesapeake Section Membership Chair, Treasurer, and Webmaster. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <128.64fd02b9.3058adf9 [at] aol.com> Date: Tue, 13 Sep 2005 18:34:33 EDT Subject: Re: Lights for the deaf in Music Performances In a message dated 13/09/05 18:34:58 GMT Daylight Time, brooklyn [at] dopher.com writes: > Very true. I've lit a lot of orchestral performances and the first system I > plot is a bunch of downlight right onto the music stands and then I plot > lots to get the conductor lit without any spill into performers' eyes. > > That said, the submitter was asking about a situation in which they might > give a certain amount of leeway in order to get to the primary goal of > making the music visual. The late Fred Bentham, a major designer of equipment for Strand Electric, invented a concept of "Colour Music" back in the late thirties. This involved an unusual control he had designed, which worked much like an organ, and looked like one too. He used to give recitals of it in the Strand demonstration theatre. Such a thing was installed in Lisbon in 1941, the Drury Lane theatre in London in 1950, the London Coliseum in 1952. Also at the Royal Festival Hall, in 1951, and at Her Majesty's theatre, and at the Adelphi theatre. It never really caught on, probably for the simple reason that it required the lighting designer to drive it for every rehearsal and performance. In effect, the lighting was always done 'on the fly'. More predictable control systems were the norm, allowing the design to be reproduced at each performance. But it was a bold concept. All this information is from Bentham's book 'Stage Lighting'. I have the second (1955) edition. It was published by Pitman, and before ISBNs had been invented. A search on Abe Books might turn up a copy. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <104.68a8742e.3058af79 [at] aol.com> Date: Tue, 13 Sep 2005 18:40:57 EDT Subject: Re: Lights for the deaf in Music Performances In a message dated 13/09/05 18:38:18 GMT Daylight Time, brooklyn [at] dopher.com writes: > And music stands lights or not, if other lights negatively impact the > performers...as in - "that light over there is blinding me", then that light > invariable ends up off or refocused.... There is the other side of the coin. Low budget presentations of musicals often use piano, Bass, and drums. If the pianist, on a grand, uses an Anglepoise to light his or her music, this is almost always directed towards the stage! This can ruin the stage lighting. Frank Wood ------------------------------ Date: Tue, 13 Sep 2005 18:51:08 -0400 From: Patrick McCreary Subject: Re: dwg viewer In-reply-to: Message-id: <6.2.0.14.1.20050913185043.01d04f58 [at] incoming.verizon.net> References: Try this: http://www.edrawingsviewer.com/ >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I've just recieved a dwg file that I can't import into my Vectorworks 9. >Does anyone have a favorite free DWG viewer? > >Laura McMeley >Resident Lighting Supervisor >The Dallas Opera >972-333-5016 >www.geocities.com/lmcmeley/ > >_________________________________________________________________ >Don't just search. Find. Check out the new MSN Search! >http://search.msn.click-url.com/go/onm00200636ave/direct/01/ G. Patrick McCreary Ass't. Professor - Technical Director Department of Theater and Dance Indiana University of Pennsylvania Indiana, PA 15701 (Office) 724-357-2644 (Home) 724-349-4309 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <20b.929b71a.3058b22a [at] aol.com> Date: Tue, 13 Sep 2005 18:52:26 EDT Subject: Re: Rental/Liability In a message dated 13/09/05 20:42:41 GMT Daylight Time, jea00321 [at] yahoo.com writes: > It's certainly worth mentioning that there are serious > life safety issues here, but overdoing that aspect > might have them start thinking about what you and your > students may do, if it's all that dangerous. > > You should definately keep a very accurate inventory > and inspect the condition of the equipment on a > regular basis, so you can have some paperwork backup > to any claims of items missing or items damaged. > Document anything wrong after a group has been in - > including not only broken or missing stuff, but > equipment left out of place, any doors or safety > chains or whatever left off of hatch or catwalk > openings, lights left on, any areas not cleaned up > after use, etc. You definitely need a solid contract with visiting companies. It should be written to say, basically, that there must be no trace of their passage. Have your technical team check it out before you sign it, as they are most likely to be affected. Penalty clauses may be a good idea, although enforcing them may be more trouble than it's worth. Maybe a deposit, over and above the rental fee might do it, to be returned in whole or in part after a satisfactory get-out. Frank Wood ------------------------------ Message-Id: <6F046EAD-481C-4893-9F38-82C9F7354F01 [at] cox.net> From: Andrew Hall Subject: re:Singin' In The Rain Date: Tue, 13 Sep 2005 19:18:36 -0400 I did SITR in summer stock a few years back and found that we were fairly successful on a limited budget. We ran a PVC rain curtain across the front of the Proscenium which dropped into a trough along the apron and drained into a 50 gal. drum under the stage. We than used a sump pump to get the water back up to the PVC pipe. Our actors could run their hands and umbrullas thru the "rain" but as they did not get entirely wet the water didn't need to be heated or excessively treated. We also added some Puddles to the stage built into unused traps and when the actors jumped into these and kicked around the audience went crazy. Go figure the rain curtain took a week to build/ configure and the "puddles" about 2 hours and they were the big hit. As for lighting rain, all I can say is that its vary difficult and we found side light and down light to work best. If your looking for more full stage coverage I recently did The Laramie Project and had it rain over a 12' by 20' area of the stage. Hope this helps Andrew Hall From: "Jeb Bruce" Subject: Singin' In The Rain Date: Mon, 12 Sep 2005 07:34:55 -0600 Message-ID: Our school is doing SITR. Does anyone have suggestion on how to protect the set pieces from water damage? Any great lighting angles found with water? Anyone have details on rain systems they have made/used? Any suggestions would be great! Thanks! Jeb Bruce ------------------------------------------------- Networld's Email is Powered by ModusGate and Spamhaus Project. For more information about Networld's Services visit http:// www.networld.com ------------------------------------------------- ----------------- ------------------------------ Message-ID: Date: Tue, 13 Sep 2005 19:36:45 -0400 From: Brian Munroe Reply-To: bpmunroe [at] gmail.com Subject: Re: Counterweight Rigging Operation In-Reply-To: References:

On 9/12/05, productionmanager [at] minnesotaballet.org wrote: > Many mason temples keep their theaters in > good order and love to give tours of their theater. Have you ever seen the Masonic in Detroit? With the abandoned swimming pool on the upper floor? And the loading dock upstage center at the end of a flat-car-like ramp? Not in the category of "good order" that Ken talks about. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: <90d9c998050913181640a7a49c [at] mail.gmail.com> Date: Tue, 13 Sep 2005 21:16:46 -0400 From: Scott Parker Reply-To: scparker [at] gmail.com Cc: crovers [at] gmail.com Subject: Re: Theatre Management Software In-Reply-To: References: I've been experimenting with these two: Short description: Project Management featuring companies, projects, tasks (with Gantt charts), forums, files, calendar, contacts, tickets/helpdesk, language support, user/module permissions, themes. Homepage: http://www.dotproject.net/=20 Short description: Project Management featuring optional group system, privileges, calendar, contacts, time card, projects, chat, forum, request tracker, mail client, files, notes, bookmarks, to-do list, reminder, voting, language support. Homepage: http://www.phprojekt.com/=20 Both site have demo web sites set up. Scott --=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 ------------------------------ Message-ID: <43277EB3.D7E74FA8 [at] cybercom.net> Date: Tue, 13 Sep 2005 21:36:51 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Paint deck References:

Chris Purpura wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Fred, > > I've worked with and built a "floating floor" before. The floor was a bunch of squares that pieced together, we new our production spaces would move several times (make sure you label the pieces before you move). We used 2x2 firring strips with little bumpers on the bottom for feet. Then used a sub floor 3/4" CDX Ply and another layer of CDX. We topped off one paint deck with plyron and the other with MDF. The MDF worked well. I personally like having a lip or overhang on the edge of the paint deck to pull and tuck some kinds fabric. > > Chris A fairly decent floor that the city of Bangor put together to turn a parking lot into a dance floor for the folk festival was sheets of plywood. ( 3/4th or 5/8ths, I think. ) with 1x3 boards underneath it on 16 inch centers. Two edges had the 1x3s sticking out halfway so as to provide a nice rest for the next piece. Each piece was varnished after assembly. To assemble, lay down a piece, stick your extra 1x3s along the unsupported edges and screw them together. Tile the next piece on and screw along the lapped seam to secure them together. Repeat until floor is assembled. The final edges get filled in with strips of plywood that are cut to fill the gap, 1.5 inches nominal. Wrap the edges with this stuff called brick edging to make it wheelchair friendly. Its inexpensive and durable, although not very glamorous. Once it is all together, it isn't going to move unless persuaded with a large hammer or power equipment. If the gravity glue isn't sufficient, you can lay down some of that foam webby stuff that they sell to keep carpets from slipping on wood floors. If you want it to be more resilient, lay rows of boards underneath it to create a spring floor system that even dancers won't bitch too much about. --Dale ------------------------------ Message-ID: <1126664116.432787b42ced0 [at] webmail.iu.edu> Date: Tue, 13 Sep 2005 21:15:16 -0500 From: nwwheatl [at] ius.edu Subject: Re: Lights for the deaf in Music Performances References: In-Reply-To: I just want to thank everyone for their input. I think I may have been vague on exactly what I wanted to do with this orchestra performance. The idea that is driving me is a way to reduce the exclusion of the deaf community during an orchestra performance. This could be done with a cyc behind the orchestra members, or light bars to the extreme Stage Left and Right areas. These would be run on the fly or maticulously programmed to associate color with the mood of the music and color changing with the rhythm of the music. In now way do I want to do anything but down light for the performers. I realize that hearing audiences may feel distacted on some level with the lights, but my focus is reducing the exlusion of a deaf community. Thank you, Nate Quoting FrankWood95 [at] aol.com: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 13/09/05 18:34:58 GMT Daylight Time, brooklyn [at] dopher.com > writes: > > > Very true. I've lit a lot of orchestral performances and the first system > I > > plot is a bunch of downlight right onto the music stands and then I plot > > lots to get the conductor lit without any spill into performers' eyes. > > > > That said, the submitter was asking about a situation in which they might > > give a certain amount of leeway in order to get to the primary goal of > > making the music visual. > > The late Fred Bentham, a major designer of equipment for Strand Electric, > invented a concept of "Colour Music" back in the late thirties. This involved > an > unusual control he had designed, which worked much like an organ, and looked > > like one too. He used to give recitals of it in the Strand demonstration > theatre. > > Such a thing was installed in Lisbon in 1941, the Drury Lane theatre in > London in 1950, the London Coliseum in 1952. Also at the Royal Festival Hall, > in > 1951, and at Her Majesty's theatre, and at the Adelphi theatre. It never > really > caught on, probably for the simple reason that it required the lighting > designer to drive it for every rehearsal and performance. In effect, the > lighting > was always done 'on the fly'. More predictable control systems were the norm, > > allowing the design to be reproduced at each performance. But it was a bold > concept. > > All this information is from Bentham's book 'Stage Lighting'. I have the > second (1955) edition. It was published by Pitman, and before ISBNs had been > > invented. A search on Abe Books might turn up a copy. > > Frank Wood > ------------------------------ Date: Wed, 14 Sep 2005 00:05:37 -0400 Subject: Re: Lights for the deaf in Music Performances From: Bruce Purdy Message-ID: In-Reply-To: > The idea that > is driving me is a way to reduce the exclusion of the deaf community during an > orchestra performance. This could be done with a cyc behind the orchestra > members, or light bars to the extreme Stage Left and Right areas. These would > be run on the fly or maticulously programmed to associate color with the mood > of the music and color changing with the rhythm of the music. Sounds to me something like the "Light organs" I used to build back in the late '60s or early '70s using Christmas lights. They would flash in synch with the music, different colours set at different frequencies. I believe you could find DJ lighting that would do that. Perhaps a laser display unit aimed at the Cyc? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "RD" Subject: RE: Stagecraft Date: Wed, 14 Sep 2005 02:24:13 -0600 In-Reply-To: Message-ID: As other might relate to you this is what I do for a living, i.e. risk assessments and liability sources. Forty plus years at this, and if you contact me off site, I will be pleased to offer some of my opinion, if you wish. rdavidson [at] riskit.com -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Williams Sent: Monday, September 12, 2005 10:58 AM To: Stagecraft Subject: Fwd: Stagecraft For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Forwarded on behalf of Unka Bill, who is currently on the road in London. -=G=- Begin forwarded message: > > << > I am a theatre teacher at a large high school with a 2000-seat > proscenium > stage. We have ongoing issues with our school district renting the > auditorium to community groups. They do not coordinate with our > theatre > faculty (except to beg us to solve problems) and of course there is no > technical supervision provided at the event. The community groups > help > themselves to any and all backstage equipment (fly, lights, sound, > props, > etc) because the custodians give them access. We've had giant > church/gospel concerts, ballets, etc. Do you know where I could > find info > about liability issues in this area? I have heard from several > sources > corroborating my concerns; are there any particular cases or > incidents I > could > draw my administration's attention to in hopes of changing their > policy? > What I need is a source my superiors might listen to, i.e. a legal > document, > news story, something other than another 'theatre person' to tell them > what we've been telling them over and over. > >>> >>> > > Contact a lawyer. Regretfully, it's the only person the admin. > will listen > to. I'm sure the school district has one who would be thrilled to > hear > about this. By thrilled I mean very happy to know this is going on so > he/she can put a stop to it. The district's liability here is huge, > bordering on the criminal. > > Bill S. > > > > ------------------------------ End of Stagecraft Digest #519 *****************************