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Subject: Stagecraft Digest #527
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #527

 1. Re: Shop Work Tables
    by "Alf Sauve" <alf.sauve [at] mindspring.com>
 2. Re: tour transportation
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
 3. Re: Console processor issues- need advice
    by "Abby Downing" <aldowning [at] onlocationls.com>
 4. Job Posting - Chair
    by Gion DeFrancesco <defranga [at] po.muohio.edu>
 5. Re: Shop Work Tables
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 6. Re: tour transportation
    by Richard Bakos <Rick [at] StudioOneSB.com>
 7. Re: sightlines and prices  rant
    by Greg Bierly <gbierly [at] dejazzd.com>
 8. Re: Roscoscreen Goo
    by "richard j. archer" <rja10 [at] cornell.edu>
 9. Re: Console processor issues- need advice
    by "Kevin Linzey" <Klinzey [at] nemetschek.net>
10. Re: tour transportation
    by "Jared Fortney" <jared.fortney [at] gmail.com>
11. shop tables
    by b Ricie <b_ricie [at] yahoo.com>
12. Re: tour transportation
    by Howard Ires <hi [at] hillinteractive.net>
13. Re: tour transportation
    by MissWisc [at] aol.com
14. Re: Job Posting - Chair
    by "Jon Ares" <jonares [at] hevanet.com>
15. purpose of theatre
    by "David R. Krajec" <drkrajec [at] stritch.edu>
16. Tour transportation
    by b Ricie <b_ricie [at] yahoo.com>
17. Re: Console processor issues- need advice
    by Richard Bakos <Rick [at] StudioOneSB.com>
18. Re: Job Posting - Chair
    by JDruc3737 [at] aol.com
19. Re: shop tables
    by "richard j. archer" <rja10 [at] cornell.edu>
20. Re: Miami OH
    by Gion DeFrancesco <defranga [at] po.muohio.edu>
21. Re: Flame retardant worked well
    by Jerry Dougherty <jerrydougherty [at] earthlink.net>
22. Re: FW: Shop Work Tables
    by Stephen Litterst <slitterst [at] ithaca.edu>
23. E-Rope
    by Jason Tollefson <jason [at] tollefsondesigns.com>
24. Re: Disney in New Orleans
    by Wood Chip-P26398 <Chip.Wood [at] motorola.com>
25. Re: The Skin of Our Teeth 
    by Mark Harvey <mharvey [at] d.umn.edu>
26. Re: FW: Shop Work Tables
    by Eric Rouse <erictd [at] gmail.com>
27. Re: FW: Shop Work Tables
    by Mike Katz <narishkup [at] gmail.com>
28. Re: FW: Shop Work Tables
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
29. Re: Stairs
    by "RD" <doomster [at] worldnet.att.net>
30. Re: Flame retardant worked well
    by "Simon Shuker" <simon [at] ef-ae.com>
31. Re: Former student displaced by Katrina
    by Bruce Cooper <bruce [at] ledworklights.com>
32. Errant Katrina Messages
    by Bruce Cooper <bruce [at] ledworklights.com>
33. Re: purpose of theatre
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
34. Re: purpose of theatre
    by FrankWood95 [at] aol.com
35. Re: purpose of theatre
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
36. Re: Disney in New Orleans
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
37. LEI-Resources Rita pre-response
    by Bruce Cooper <bruce [at] ledworklights.com>

*** 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: <01e901c5be98$b05a46e0$0400a8c0 [at] ALFOFFICE>
Reply-To: "Alf Sauve" <alf.sauve [at] mindspring.com>
From: "Alf Sauve" <alf.sauve [at] mindspring.com>
References: <list-24774154 [at] prxy.net>
Subject: Re: Shop Work Tables
Date: Wed, 21 Sep 2005 06:17:21 -0400

You can get sheets of plywood in 5'x9'.

Also, this happens, just happens to be the size of a regulation ping-pong 
table!

Alf


----- Original Message ----- 
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, September 21, 2005 12:51 AM
Subject: Re: FW: Shop Work Tables


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>>Outfitting our soon-to-be new scene shop/stagecraft classroom and
>>considering building/buying 4x8 rolling work tables with locking casters. 
>>Anybody have experience with this? Are there sources for stock units like
>>this? Other than using sawhorses, are there designs that are easy to make
>>disappear?
>
> My shop has three rolling tables. They're not 4x8; they're 5x9, so a full 
> sheet of plywood can go on top, with room left over to work on it.
>
> Make certain they share the same height as your table saw -- instant 
> run-off table -- and any workbenches you may want to use.
>
> I turned the area underneath the tabletop into storage for wood scraps, 
> and built a shelving unit onto one end for tool storage.  On one, I 
> drilled some holes for dogs; I have plans to individualize the other two 
> over the winter when work slows down a bit.
>
> You might actually want to check out a woodworker's magazine or manual for 
> tips on construction.  Needless to say, between the weight of the table 
> and the additional wood stored underneath, I rarely found it necessary to 
> lock the brakes on them.
>
> "Are there designs that are easy to make disappear" -- you mean make the 
> worktables disappear?  or the designs?  Not sure what your goal is here.
>
>
> -- Matt
>
> =========
>
> _________________________________________________________________
> Is your PC infected? Get a FREE online computer virus scan from McAfeeŽ 
> Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963
> 


------------------------------

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Subject: re: tour transportation
Date: Wed, 21 Sep 2005 08:12:56 -0400
In-Reply-To: <list-24776583 [at] prxy.net>
Message-ID: <E1EI3TB-0003ri-BD [at] smtpauth07.mail.atl.earthlink.net>

...A question to those of you with experience moving truck tours.  The
circus I work for is trying to transition from moving all of our
equipment (minus the big top) by 24' straight truck to moving in semi
trailers...  


Jared:

At last I can take off my high school teacher, theatre consultant, IA
stagehand and aerial rigger hats, and put on my Clark Transfer hat!  (I was
up at Smirkus this summer and we may even have met in passing).

Yes this is somewhat self-serving, but hopefully responsive.  Sorry if I
crossed the line.

The folks at Clark Transfer, or one of the other specialized theatrical
carriers, can help you answer the questions, since they deal both with big
tours and little tours.  There are lots of people in situations like yours,
and once you get past the stage of putting stuff into straight trucks and
move to full trailers, it generally works out best to use a specialized
carrier.  Safety and hassle are two factors.  Cost is dicey, because with a
specialized carrier you are getting a high level of service that you didn't
have to pay for when doing it yourself.  That does cost money.  Also, you
might have noticed that fuel costs are through the roof, and that hurts
everyone (except Exxon-Mobil).  But for many people it still works out
better.  

Check out the article in last spring's USITT TD&T Magazine
(http://www.usitt.org/tdt.index/tdt/40-2trucks.pdf) which has lots of good
information in it.  Let me know if you have trouble accessing and I'll send
it to you.

Feel free to contact me off-list to discuss further.

Jonathan S. Deull
Executive VP
Clark Transfer, Inc.
(202) 232-4138
www.clarktransfer.com









------------------------------

Subject: RE: Console processor issues- need advice
Date: Wed, 21 Sep 2005 08:24:06 -0400
Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA300090 [at] jekyll-sbs.ollsi.local>
From: "Abby Downing" <aldowning [at] onlocationls.com>

You assume correctly...it's a lighting console.

-----Original Message-----
From: Charlie Richmond [mailto:charlier [at] RichmondSoundDesign.com]=20
Sent: Wednesday, September 21, 2005 4:08 AM
To: Stagecraft
Subject: Re: Console processor issues- need advice

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

On Tue, 20 Sep 2005, Abby Downing wrote:

> un-named client of mine with a un-named console is having issues.

Is this a lighting or a sound console?  I assume lighting but it's not=20
absolutely clear....

Charlie

------------------------------

Message-Id: <p06230914bf57016bbe15 [at] [134.53.196.69]>
Date: Wed, 21 Sep 2005 08:28:47 -0400
From: Gion DeFrancesco <defranga [at] po.muohio.edu>
Subject: Job Posting - Chair
Cc: haynesca [at] muohio.edu

I hope some of you on the list might be interested in this position 
or could pass this along to colleagues who might be looking for a new 
position. If you have any questions I'd be happy to answer.

Gion


Position Announcement
Miami University
Chair: Department of Theatre 


Position Description:
The Miami University Department of Theatre in Oxford, OH, seeks an 
innovative and energetic artist/teacher/scholar to chair a dynamic 
and inclusive department that offers a BA and MA in Theatre.  We are 
looking for someone with excellent leadership and advocacy skills and 
a demonstrated commitment to experimentation, creativity, and the 
full range of theatre study and production in a liberal arts setting. 
The School of Fine Arts is a leader in campus-wide diversity 
initiatives and this position offers an exciting opportunity to 
become part of a dynamic community of artists, teachers, scholars and 
practitioners. 

Position Responsibilities:
The Chair's responsibilities include providing effective leadership 
in teaching, creative/scholarly work, planning, faculty development, 
faculty hiring, instructional assignments, curriculum development, 
fiscal management, student recruitment and accreditation.  The Chair 
is also expected to teach a half-time equivalent and be an effective 
advocate to both internal and external constituencies.

Qualifications:
Candidates must have a terminal degree as specified by discipline 
(MFA or PHD), an established record of teaching excellence at the 
college level, a significant record of scholarship and/or creative 
work to meet criteria for appointment as full professor, and an 
ongoing commitment to producing scholarly and/or creative work.  A 
minimum of two years administrative experience desired.  A 
demonstrated record of commitment to diversity is essential.  The 
successful candidate will be conversant with departmental disciplines 
and the evolving technologies and pedagogies that support them.

Salary and Benefits:
Salary competitive and includes benefit package.  Please visit 
www.units.muohio.edu/prs/benefits/ for more information on benefits.

Application Deadline:
Screening of applicants will begin on October 15, 2005 and continue 
until the position is filled.

Application Process:
Please send cover letter, CV, examples of scholarly and/or creative 
work to: Theatre Chair Search c/o Connie Asher, School of Fine Arts, 
Hiestand Hall, Miami University, Oxford, Ohio, 45056.  Three letters 
of reference should also be sent directly to the above address.

The Department of Theatre:
The Department of Theatre is a nationally accredited department 
(NAST) and offers a BA and an MA in Theatre. The Department has 
continuing programs, relationships and exchanges with various foreign 
institutions and is very active with interdisciplinary connections 
across campus.  The department maintains a Main Stage and Second 
Stage season as well as numerous student directing, playwriting and 
children's theatre projects. Visit the department's web site for 
detailed information (www.muohio.edu/theatre). Our alumni are noted 
practicing artists, entrepreneurs, teachers and professors.

Miami University:
Miami University is a highly selective public institution that is 
located near both Cincinnati and Dayton, Ohio.  Miami has regional 
campuses in two nearby cities, Hamilton and Middletown, and a 
European Center in Luxembourg.  Check out the campus and take a 
virtual tour at www.muohio.edu. Miami University is an Equal 
Opportunity Employer offering full same-sex domestic partner 
benefits. Women and minorities are strongly encouraged to apply.

-- 
+++++++++++++++++++++++++++++++++++++++
Gion DeFrancesco
Assistant Professor of Theatre/Scene Designer
MUT Production Manager
Miami University
131 Center for Performing Arts
Oxford, OH 45056
513.529.8318

Portfolio on the web at http://www.users.muohio.edu/defranga

++++++++++++++++++++++++++++++++++++++
"A cheese may disappoint. It may be dull, it may be naive, it may be 
oversophisticated. Yet it remains, cheese, milk's leap toward 
immortality."
Clifton Fadiman


------------------------------

Subject: RE: Shop Work Tables
Date: Wed, 21 Sep 2005 09:46:14 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C96F [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Outfitting our soon-to-be new scene shop/stagecraft classroom=20
> and considering building/buying 4x8 rolling work tables with=20
> locking casters.=A0

We had a few 4x8 rolling tables last year...over the summer I replaced =
them with 4x4 versions.  Much more mobile, yet with the amount of =
storage I've put underneath (one table with shelves for hardware bins, =
one with milk crates full of sorted casters, and so forth) I haven't =
needed to worry about locking casters at all.

> Anybody have experience with this?=A0 Are there sources for=20
> stock units like this?=A0 Other than using sawhorses, are there=20
> designs that are easy to make disappear?

As someone else has mentioned, set the height to match that of your =
table saw; but I'd go one better, and suggest that you do the same with =
all of your sawhorses and as many of your other work tables/surfaces in =
this new shop as you possibly can.

And if you *really* want to make them disappear, strategically locate a =
dozen or so chain hoists in that new shop...and bolt some hanger irons =
to the table bases.  Then you can fly the tables out of the way when you =
don't want them!*

(*Disclaimer...the tone of this last comment is meant to be somewhat =
facetious; while it would theoretically be possible to do this sort of =
thing, it would take a LOT of proper engineering, and most likely make =
the tables basically useless for storage--I wouldn't want lots of stuff =
on the bottom shelves unsecured and then flown overhead!)

------------------------------

Message-ID: <433168A3.7020207 [at] StudioOneSB.com>
Date: Wed, 21 Sep 2005 09:05:23 -0500
From: Richard Bakos <Rick [at] StudioOneSB.com>
Organization: Studio One Inc.
Subject: Re: tour transportation
References: <list-24777474 [at] prxy.net>
In-Reply-To: <list-24777474 [at] prxy.net>

I noticed at the local county fair that the carnival was using contract 
drivers to pull their trailers city to city.  They have the same problem 
with CDL drivers.  They have one or two of their own truck to spot rides 
and one was equipped with a small crane for setting rides. Are you 
owning your own trailers are you planing on renting them? This could 
color your decision as to who you use.

>...A question to those of you with experience moving truck tours.  The
>circus I work for is trying to transition from moving all of our
>equipment (minus the big top) by 24' straight truck to moving in semi
>trailers...  
>
>
>Jared:
>  
>

-- 

Richard Bakos

President 

Studio One Inc.

25833 State Road 2

South Bend, In 46619-4736

VOICE 574-232-9084

FAX   574-232-2220

Rick [at] StudioOneSB.com <mailto:Rick [at] StudioOneSB.com>

www.StudioOnesb.com

 


------------------------------

In-Reply-To: <list-24770053 [at] prxy.net>
References: <list-24770053 [at] prxy.net>
Message-Id: <1804a11cba581a6a2a590069dd3ba1ad [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: sightlines and prices  rant
Date: Wed, 21 Sep 2005 10:01:20 -0400

I find this is really an issue with concert tours.   Saw Sting from the 
bleacher seats at a stadium and couldn't see 2/3rds of the video wall.  
Saw Trans-Siberean Orchestra in an arena and watched it from extreme 
stage right.  We were actually behind the front edge of the stage and 
were 30' from the HL cluster.  Volume was horrendous.  People out front 
had a great mix.  Obviously the engineer never walked over to listen to 
the balance on the side.  I spent the bucks for gold circle seating for 
Lilleth Faire and would up sitting 15 rows back but 50' beyond the HL 
speaker stack. We could see the lead singer and that was about it.  No 
wonder I rarely pay to see a concert.


Greg Bierly
Technical Director
Hempfield HS


------------------------------

Message-Id: <p05210600bf571839fac4 [at] [132.236.252.58]>
In-Reply-To: <list-24771856 [at] prxy.net>
References: <list-24771856 [at] prxy.net>
Date: Wed, 21 Sep 2005 09:12:29 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: Roscoscreen Goo

We had a similar problem with our Gerriets pro cyc after about 10--12 
years of hanging in our theatre.  We bought a new one (old one did 
have a small hole and some "pin pricks" . Afterwards we were able to 
"wash" the old one.  Lowered it in and did a little bit at a time 
with cleaning supplies from the custodians, nothing special, most of 
the sticky goo came off. We had some people on front and back with 
cloths and they wiped the cyc down.  It's still okay after about 5 
years.

Dick A
TD, Cornell U





>
>
>Hi,
>I have a set of small (1 panel wide)RP panels covered with black 
>Roscoscreen that were built perhaps 15 years ago.  They have been 
>stored ever since.  I now have a need for them but discover that 
>they have become really sticky.  I think this is a natural 
>degradation of the vinyl over time but wonder if there is a way to 
>clean or neutralize/stabilize the goo.  Any ideas would be 
>appreciated.
>TIA.
>Steve Rees, TD
>SUNY-Fredonia


------------------------------

From: "Kevin Linzey" <Klinzey [at] nemetschek.net>
Subject: RE: Console processor issues- need advice
Date: Wed, 21 Sep 2005 10:17:45 -0400
In-Reply-To: <list-24772581 [at] prxy.net>
Message-ID: <MDAEMON-F200509211017.AA1744136md50000000010 [at] nemetschek.net>

I've seen static electricity cause problems too, caused by habits of certain
users and grounding problems.

Your best bet for the processor is to check and clean the pins.  Reseat the
processor then use s little hot glue on the corners of the chip after it's
seated.  I used to do this all the time on older PC (to the cards and
processors) that were moved often.  The CPU never got hot enough to melt the
glue and I could still get things apart when I needed.

Kevin



> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf 
> Of rwhitco [at] comcast.net
> Sent: Tuesday, September 20, 2005 9:53 PM
> To: Stagecraft
> Subject: Re: Console processor issues- need advice
> 
> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Another issue to consider is static electricity.  We've had 
> boards lock up in the past, and using some "static guarding" 
> type of spray on chairs, clothing seems to help.
> 
> Randy Whitcomb, Manager
> Price Civic Aud.
> Loveland, CO
> 
> 
>  
> 


------------------------------

From: "Jared Fortney" <jared.fortney [at] gmail.com>
Subject: RE: tour transportation
Date: Wed, 21 Sep 2005 10:23:32 -0400
In-Reply-To: <list-24778332 [at] prxy.net>
Message-ID: <43316ce7.306ada17.3b2a.ffffa506 [at] mx.gmail.com>

>Are you owning your own trailers or are you planning on renting them?

We will be renting the trailers.  Most likely 48' boxes with lift gates.  If
only fields came with loading docks...

Jared Fortney
Circus Smirkus


------------------------------

Message-ID: <20050921142439.62382.qmail [at] web50614.mail.yahoo.com>
Date: Wed, 21 Sep 2005 07:24:39 -0700 (PDT)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: shop tables
In-Reply-To: <list-24776583 [at] prxy.net>


I once ran a small shop at a community college. When I
arrived we had one large work table off to the side of
the room. The table took up far too much floor space
so I made it into 4 small tables. the tables were
legged up to the same height as the table saw and
other work benches(made great run off benches). When
we needed a large table all 4 came back together, when
we needed the space they could stack on top of one
another in the corner. Due to our space restrictions,
small modular worked well for us.

Brian Rice 
508-685-0716
b_ricie [at] yahoo.com
"Blessed are the cracked: For it is they who let in the 
light."

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

------------------------------

Message-ID: <43316F4C.9060405 [at] hillinteractive.net>
Date: Wed, 21 Sep 2005 10:33:48 -0400
From: Howard Ires <hi [at] hillinteractive.net>
Subject: Re: tour transportation
References: <list-24773349 [at] prxy.net>
In-Reply-To: <list-24773349 [at] prxy.net>

Jared Fortney wrote:
> 
> A question to those of you with experience moving truck tours.  

You can't go wrong with Clark.  They understand the time element of 
moving shows.  They WILL get your stuff to the theater on time. The 
problem with non-theatrical haulers is that they often don't get the 
time element thing, if the tractor breaks down or the driver is sick 
your trucks may not get there in time to put your show up. This has 
never happened to me with Clark.

--------------------H

------------------------------

From: MissWisc [at] aol.com
Message-ID: <154.59c45c3f.3062c95f [at] aol.com>
Date: Wed, 21 Sep 2005 10:34:07 EDT
Subject: Re: tour transportation

Jared - 

Don't make the mistake of thinking you're too "small" for  Clark. Far better 
to work with professionals with expertise, experience  and an excellent 
reputation than to go for the "budget" company and  have to cancell shows when 
things get mixed up. 
 
Call and talk with them. Then ask the all important question "I'm new to  
doing this... is there anything I should be asking that I haven't asked because  
I don't know enough about this part of show business to know that I  should be 
asking it?" I'd bet they will be really helpful. 

Kristi
 

------------------------------

Message-ID: <002101c5beba$1ea8ca60$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-24777609 [at] prxy.net>
Subject: Re: Job Posting - Chair
Date: Wed, 21 Sep 2005 07:38:23 -0700

> The Miami University Department of Theatre in Oxford, OH,

Wow... was there another hurricane I didn't hear about?  Miami got shoved 
inland all the way to Ohio!  ;)

     - Jon Ares
www.hevanet.com/acreative 


------------------------------

Reply-To: <drkrajec [at] stritch.edu>
From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: purpose of theatre
Date: Wed, 21 Sep 2005 09:41:13 -0500
Message-ID: <FFEKLPMABANLAIDPOAKBGENKCMAA.drkrajec [at] stritch.edu>
In-Reply-To: <list-24776583 [at] prxy.net>

Charlie and Frank,
You're both right.  The purpose of theatre is to educate AND to entertain.
You can be entertained and still learn something.
Watch an Eddie Izzard video (brilliant).  You will learn something.  And you
will laugh your head off.
And think about our "entertaining" musicals.
Oklahoma - the story about how someone is presumed to have murdered
somebody, is ostracized from the community because he is "different" and
when he is accidently killed, the killer goes off on his honeymood.
Grease - the story of how a sweet, young, innocent girl decides she wants a
guy so bad, she decides to change into a slut for him.
Oedipus Rex - the story reinforces the idea that you can not rise above your
lot in life, so don't even try.  The gods don't like that and will punish
you.  What a great way to keep the lower classes in their place!

OK - these may be different takes on these shows, but the message is still
there if you look for it.  And those shows are entertaining for some people.

DK

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]
Sent: Wednesday, September 21, 2005 5:00 AM
To: Stagecraft
Subject: Stagecraft Digest #526

In a message dated 20/09/05 14:07:08 GMT Daylight Time,
charlier [at] RichmondSoundDesign.com writes:

> Theatre is affected by politics and policy and one of its prime functions
is to
>  affect both, or it has no purpose as far as I'm concerned.  Theatre is an
>  essentially political act which allows people to express their opinions
and
>  influence people directly and locally -- something film, television and
> other entertainments of a more general nature can't necessarily do.

I can't see this. Do you think Aeschulus or Euripides had this in mind?
Shakespeare had, but only in so far as it concerned the continuance of his
company.
Some of the histories are blatantly political, and well in tune with the
current regime.

Theatre is for entertainment. Where is the politics in Shakespeare's
comedies, in "The importance of being Earnest"? In countless other plays?


Frank Wood





------------------------------

Message-ID: <20050921144712.92604.qmail [at] web50613.mail.yahoo.com>
Date: Wed, 21 Sep 2005 07:47:12 -0700 (PDT)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Tour transportation
In-Reply-To: <list-24776583 [at] prxy.net>

Good drivers can be a great thing, if they are top
notch they can remove some stress from your life.
Things to remember: Get a 48' truck not a 53'. there
are many restricted roads that do not allow a
53'truck, and often times those roads are the ones you
need to travel to get to the gig on time, or save an
over-drive.
  An Over-drive is when a trucker drives more in one
sitting then he is contracted to. EXAMPLE: 400miles=
regular rate, 400miles+200miles= regular rate + 1
over-drive(1 over-drive= about regular day rate),
400miles+200miles+150miles= regular rate + 2
over-drives, 400miles+200miles+150miles+100miles=
regular rate+3 over-drives( well you get the picture)
I am not sure about the correct numbers, but the more
driving they do the smaller the miles get in order to
equal an over-drive.
  The drivers will need a GOOD AND CORRECT itinerary
with valid contact numbers. Most drivers will know
some of the venues as they have probably been there
before, but you do want to make sure they show up at
the right spot at the right time.
Air ride is a good idea. you also want to work with
your driver. Ask them how the load felt in transport.
Make sure the weight is good for them and the load is
riding ok, it might save your gear in the long run.
  There are companies out there that specialize in
entertainment shipping, I would recommend one of them.

 If you do go with a trucking company, treat your
driver like one of the crew, not an outsider. The
drivers work hard long nights by themselves. If you
treat them with respect, they will do the same for
you.
hope that helps, any other questions give a shout.


Brian Rice 
508-685-0716
b_ricie [at] yahoo.com
"Blessed are the cracked: For it is they who let in the 
light."


		
__________________________________ 
Yahoo! Mail - PC Magazine Editors' Choice 2005 
http://mail.yahoo.com

------------------------------

Message-ID: <433174E7.9080409 [at] StudioOneSB.com>
Date: Wed, 21 Sep 2005 09:57:43 -0500
From: Richard Bakos <Rick [at] StudioOneSB.com>
Organization: Studio One Inc.
Subject: Re: Console processor issues- need advice
References: <list-24778496 [at] prxy.net>
In-Reply-To: <list-24778496 [at] prxy.net>

I have a Leprechaun Lp-1648 that does not like being on one of those 
white plastic tables in some rooms. I will walk back to the console, 
touch it and have to reboot because it is locked up.  The only ground to 
that board is via the DMX connector.

>I've seen static electricity cause problems too, caused by habits of certain
>users and grounding problems.
>  
>
-- 

Richard Bakos

President 

Studio One Inc.

25833 State Road 2

South Bend, In 46619-4736

VOICE 574-232-9084

FAX   574-232-2220

Rick [at] StudioOneSB.com <mailto:Rick [at] StudioOneSB.com>

www.StudioOnesb.com

 


------------------------------

From: JDruc3737 [at] aol.com
Message-ID: <1e8.43cce708.3062cf5b [at] aol.com>
Date: Wed, 21 Sep 2005 10:59:39 EDT
Subject: Re: Job Posting - Chair

Probably the same one that shoved Indiana to Pennsylvania.
 
>> The Miami University Department of Theatre in Oxford,  OH,

> Wow... was there another hurricane I didn't hear about?   Miami got shoved 
inland all the way to Ohio!  ;)


Jeffrey  Drucker
Production Manager
Bard College
phone 845-758-7956
fax  845-758-7925
email drucker [at] bard.edu
 

------------------------------

Message-Id: <p05210602bf572405c051 [at] [132.236.252.58]>
In-Reply-To: <list-24778556 [at] prxy.net>
References: <list-24778556 [at] prxy.net>
Date: Wed, 21 Sep 2005 09:59:18 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: shop tables

In our present shop we have castered 4 x 8 each with 2 floor locks 
mounted diagonally from each other.  The tables casket lock together. 
In our former, much, much smaller shop we used parallels (you 
remember these--they were in all your textbooks).  We had 4x8 and 2x8 
which allowed us to build just about without crawling around on the 
floor.  Of course, as parallels, they could fold up and store on the 
wall when not in use so we could use the extremely limited floor 
space for something else.

Dick A
TD, Cornell U











------------------------------

Message-Id: <p06230918bf572975207e [at] [134.53.196.69]>
In-Reply-To: <list-24778712 [at] prxy.net>
References: <list-24777609 [at] prxy.net> <list-24778712 [at] prxy.net>
Date: Wed, 21 Sep 2005 11:17:34 -0400
From: Gion DeFrancesco <defranga [at] po.muohio.edu>
Subject: Re: Miami OH

The saying here is "Miami was a University before Florida was a state!"


>
>>The Miami University Department of Theatre in Oxford, OH,
>
>Wow... was there another hurricane I didn't hear about?  Miami got 
>shoved inland all the way to Ohio!  ;)
>
>     - Jon Ares
>www.hevanet.com/acreative


-- 
+++++++++++++++++++++++++++++++++++++++
Gion DeFrancesco
Assistant Professor of Theatre/Scene Designer
MUT Production Manager
Miami University
131 Center for Performing Arts
Oxford, OH 45056
513.529.8318

Portfolio on the web at http://www.users.muohio.edu/defranga

++++++++++++++++++++++++++++++++++++++
"A cheese may disappoint. It may be dull, it may be naive, it may be 
oversophisticated. Yet it remains, cheese, milk's leap toward 
immortality."
Clifton Fadiman


------------------------------

Message-ID: <13506863.1127320529028.JavaMail.root [at] elwamui-cypress.atl.sa.earthlink.net>
Date: Wed, 21 Sep 2005 09:35:28 -0700 (GMT-07:00)
From: Jerry Dougherty <jerrydougherty [at] earthlink.net>
Reply-To: Jerry Dougherty <jerrydougherty [at] earthlink.net>
Subject: Re: Flame retardant worked well

Don't try and impose your Western ideas on Arab culture.  It won't work.

Safety is a foreign concept.  I was in a theatre in northern Saudi Arabia a little over 18 months ago.  Beautiful single purchase house that looked to have been hanging in a static mode for the twenty years since a western contractor installed it.  Probably a Brit or Aussi company.  It was used only for briefings and the velour looked more like burlap.

"The will of God" plays a big role in how Arabs approach their everyday life.  Everything happens (or doesn't happen) for a reason.

This is the first year that auto insurance is compulsory in KSA, mostly as a tool to regulate traffic (logic is that if they have to pay to drive, they may drive a bit safer).  It's like being in a Mad Max movie.

During a briefing, we were in a room with European outlets and a LCD projector with a grounded Edison plug.  What was the solution?  Cut off the plug, twist the wires, and stick them in the outlet.  Extension cords?  Nope, short lengths of ROMEX with wire nuts and electrical tape.  When the wire nuts run out, just tape.  When the tape runs out, just twist them together and separate.

It is tragic, but insha'Alaha.

Jerry

------------------------------

Date: Wed, 21 Sep 2005 12:41:54 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: FW: Shop Work Tables
In-reply-to: <list-24772714 [at] prxy.net>
Message-id: <43318D52.9090005 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-24772714 [at] prxy.net>

Jonathan S. Deull wrote:
> ---------------------------------------------------
> Outfitting our soon-to-be new scene shop/stagecraft classroom and
> considering building/buying 4x8 rolling work tables with locking casters. 
> Anybody have experience with this?  Are there sources for stock units like
> this?  Other than using sawhorses, are there designs that are easy to make
> disappear?

I'd skip the locking casters.  Our layout tables are 6' x 8' and they 
have locking casters that are never intentionally locked.  The table 
itself has enough mass that it doesn't move accidentally.

If you do go with locking casters, engineer the table so that the 
locking mechanism is easily available.  Ours inevitably get locked by 
hitting a piece of scrap wood and they're tucked under the table just 
enough to make it difficult to get to.

And if you're willing to consider the sawhorse idea, my college shop 
(go Blue Hens!) had metal-framed tabletops that sat on the sawhorses. 
  Everything folded up and got out of the way very nicely at the end 
of the day.

Steve Litterst



-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Message-ID: <20050921164432.98242.qmail [at] web51002.mail.yahoo.com>
Date: Wed, 21 Sep 2005 09:44:32 -0700 (PDT)
From: Jason Tollefson <jason [at] tollefsondesigns.com>
Reply-To: jason [at] tollefsondesigns.com
Subject: E-Rope
In-Reply-To: <list-24776583 [at] prxy.net>

Ok how's this for new technology?  Rope that can give you real-time feedback on load and wear.  No
more guessing about the condition of your hang.

http://www.squid-labs.com/projects/erope/index.html

Jason Tollefson



------------------------------

Message-ID: <2E3198416D5E7A4FB3FEC7E6838FE36B0B1E9E [at] ct11exm60.ds.mot.com>
From: Wood Chip-P26398 <Chip.Wood [at] motorola.com>
Subject: RE: Disney in New Orleans
Date: Wed, 21 Sep 2005 09:49:15 -0700

That seems to be severely tested in the current administration:

You can't blame them before the event- after all, they have excellent Intel and it might just work
You can't blame them during the event- now is the time to fix it and no time to blame
You can't blame them after the event-  they won't play the blame game, besides it was the other guy's fault. 


Chip 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Charlie Richmond

Let us always hope that freedom of speech is upheld.

Charlie

------------------------------

Date: Wed, 21 Sep 2005 12:28:34 -0500
From: Mark Harvey <mharvey [at] d.umn.edu>
Subject: Re: The Skin of Our Teeth 
Message-ID: <2147483647.1127305714 [at] mharvey.d.umn.edu>
In-Reply-To: <list-24776583 [at] prxy.net>
References:  <list-24776583 [at] prxy.net>

Some years ago I read a biography of Thorton Wilder and was 
particularly interested in his attempts to blur the psychological 
boundary between the audience and the performers.

In "The Skin of Our Teeth" I think it's important for audiences to 
really wonder what's going on during particular scenes.  When the 
ushers begin breaking up chairs to build the fire in Act I, I think the 
actual ushers for the production should be involved and be as 
convincing as possible.  When the director has to go on stage to 
reprimand an actor, I think the director for the show should do that as 
realistic as possible.  When one of Sabrina's family member's stalks 
out of the theatre, it should be someone who has an actual relationship 
with the actress playing Sabrina.

It may mean adjusting the wording of the play a little bit, but it 
would be more in keeping with what Thorton Wilder had in mind than if 
the play was done merely as an historical piece.

____________________________________
Mark Harvey
Associate Professor, Theatrical Lighting and Sound Design
University of Minnesota Duluth
http://www.d.umn.edu/~mharvey

--On Wednesday, September 21, 2005 "Jonathan S. Deull" 
<jdeull [at] clarktransfer.com> wrote:
>
> Beginning planning for an upcoming high school production of The Skin
> of = Our
> Teeth.=A0 Interested in any ideas or experiences from those who have =
> done the
> show.=A0 There are lots of possibilities...
>




------------------------------

Message-ID: <41f0806805092110291d01dff2 [at] mail.gmail.com>
Date: Wed, 21 Sep 2005 13:29:09 -0400
From: Eric Rouse <erictd [at] gmail.com>
Reply-To: Eric Rouse <erictd [at] gmail.com>
Subject: Re: FW: Shop Work Tables
In-Reply-To: <list-24774559 [at] prxy.net>
References: <list-24774154 [at] prxy.net> <list-24774559 [at] prxy.net>
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------------------------------

Message-ID: <7cd95e18050921105173afaa62 [at] mail.gmail.com>
Date: Wed, 21 Sep 2005 13:51:56 -0400
From: Mike Katz <narishkup [at] gmail.com>
Reply-To: Mike Katz <narishkup [at] gmail.com>
Subject: Re: FW: Shop Work Tables
In-Reply-To: <list-24772714 [at] prxy.net>
References: <list-24772714 [at] prxy.net>

We have a small shop so we built 4 2'6"x6' tables.  We can use all 4
together to make a 5'x12' table or move the tables apart to create a
larger surface. The units can also be used in pairs or individually
depending on the size of the project. the units are built with a flat
frame construction similar to a parallel but screwed not hinged
together, The top overhangs the frame on all sides so we can clamp
items to the table easily. On one end the frame is set farther back so
that a pair of fixed casters are mounted just below the table top
facing the end the bottom edge of the same end has a wood bumper so
that the units can be stood on end for storage and rolled wheelbarrow
style in the vertical position. They take very little space when
vertical (30"x 36" each) and have been in heavy use for 3 years with
no problems.
Mike

On 9/20/05, Jonathan S. Deull <jdeull [at] clarktransfer.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Outfitting our soon-to-be new scene shop/stagecraft classroom and
> considering building/buying 4x8 rolling work tables with locking casters.
> Anybody have experience with this? Are there sources for stock units like
> this? Other than using sawhorses, are there designs that are easy to make
> disappear?
--
Mike Katz
Technical Director
MIT Theater Arts
617.253.0824

------------------------------

Message-ID: <43319EC5.3040406 [at] fredonia.edu>
Date: Wed, 21 Sep 2005 13:56:21 -0400
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: FW: Shop Work Tables
References: <list-24772714 [at] prxy.net> <list-24780005 [at] prxy.net>

We've been using a couple of stress-skin platform decks on saw horses 
that set up and tear down rapidly as we need.  Ours is a long narrow 
space and we move stuff nearly every night as needed.  The favorite that 
stays up most of the time is a 4' x 10'.  We can spline additional width 
or length segments as required to create larger workspace.
Steve (The Other) Rees, TD
SUNY-Fredonia

Stephen Litterst wrote:
> 
> I'd skip the locking casters.  Our layout tables are 6' x 8' and they 
> have locking casters that are never intentionally locked.  The table 
> itself has enough mass that it doesn't move accidentally.
> 
> If you do go with locking casters, engineer the table so that the 
> locking mechanism is easily available.  Ours inevitably get locked by 
> hitting a piece of scrap wood and they're tucked under the table just 
> enough to make it difficult to get to.
> 
> And if you're willing to consider the sawhorse idea, my college shop (go 
> Blue Hens!) had metal-framed tabletops that sat on the sawhorses. 
>  Everything folded up and got out of the way very nicely at the end of 
> the day.
> 
> Steve Litterst
> 
> 
> 



------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Cc: bill [at] bcaworld.com ('Bill Conner')
Subject: RE: Stairs
Date: Wed, 21 Sep 2005 13:23:09 -0600
In-Reply-To: <list-24765480 [at] prxy.net>
Message-ID: <auto-000024781768 [at] prxy.net>

Refer to my emails in answer to these questions. The book: The Staircase by
Templer is by far the most professional book on this subject. Doom

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Conner
Sent: Tuesday, September 20, 2005 8:01 AM
To: Stagecraft
Subject: Re: Stairs

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Joseph Champelli posted:     "Bill, in your experience are there guidelines 
or ergonomic data for the width of landings used within stair runs?
I've been in some theatre houses that are just plain awkward to navigate. 
The showroom at the Aladdin in Las Vegas comes to mind.  In that space you 
have 2 or 3 stairs and then a long landing.  The landing is too long to take

as a step and not long enough for a full stride.  So you have to take a 
weird little half-step on the landing before you take a step."

Generally, landings should be as deep (along direction of travel) as the 
required width of the treads but I can't help but think you are looking at 
an aisle stair with the old short-long tread, where the intermediate step or

steps in each row are short and the tread at the level of the seats is long.

It's been understood for a longtime by some and required by codes for over a

decade that the treads be uniform down the stair aisle.  Each row is not a 
landing or, if it is, then it has to be quite deep.  For instance,  36" side

aisle with two intermediate steps would have 58" rows (36 + 2 X 11).

We tend to trust our "feel" and instinct especially if unaware of science 
and research.  I've been on compliant stairs and thought they felt a little 
awkward.  I'll sometimes sit and watch people egress at the end of a show 
and try to see how many people stumble.  One sign seems to be increased 
percentage of users that use the handrail for support.  Sometimes, the 
"unnatural" gait makes me more aware and I'm more vigilant.  And then there 
are those films and counting falls.

And don't forget we design stairs for an entire population.  What feels odd 
to the fit healthy young buck or simply those of us who still take two steps

at a time could be treacherous for the 80 year old user with a slight 
mobility impairment (limp).

Bill




------------------------------

From: "Simon Shuker" <simon [at] ef-ae.com>
Cc: jerrydougherty [at] earthlink.net ('Jerry Dougherty')
Subject: RE: Flame retardant worked well
Date: Thu, 22 Sep 2005 00:07:36 +0400
In-reply-to: <list-24779910 [at] prxy.net>
Message-Id: <20050921200750.12ED158AC [at] mail05.powweb.com>

 
 Jerry Dougherty wrote

"Don't try and impose your Western ideas on Arab culture.  It won't work."



I have lived in the middle east long enough to realise that. The only time I
try to change things is when it directly effects the safety of myself or my
crew.

insha'Alaha is a nice word if its used in the literal sense ( If god is
willing), but unfortunately to the majority of people using it means " Don't
even think its going to happen" in Saudi right through to "I'll do my best"
in Oman.  

As for the electrics, that's certainly improved in Dubai but the rest of the
Gulf has yet to catch up. The event industry and the more professional end
of the construction industry in Dubai tend to use 16 amp c-form plugs now.
There are still the smaller companies that plug in 2 wires ( no earth)
directly into 13amp  plug sockets to get power mainly because they know no
better.




------------------------------

Message-ID: <1127338826.4331d34a848e3 [at] mail.opentransfer.com>
Date: Wed, 21 Sep 2005 16:40:26 -0500
From: Bruce Cooper <bruce [at] ledworklights.com>
Subject: Re: Former student displaced by Katrina
References: <list-24681005 [at] prxy.net>
In-Reply-To: <list-24681005 [at] prxy.net>

Kurt:

  I know this probably wasn't what you were thinking, and it's a bit late, but
would you kindly ask this student if this request might be posted to the
LEI-Resources Assistance Needed Page ?[Assuming it is still a need]  I'm just
trying to get the info from as many affected people out to as large an audience
as possible.  If you know of anyone else who might benefit, please don't
hesitate to have them e-mail their requests/needs.

:Bruce Cooper
-- 
LED Worklight Systems
847-445-2668
http://ledworklights.com


Quoting "Blaugher, Kurt E." <blaugher [at] msmary.edu>:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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: <1127339003.4331d3fbc8ea5 [at] mail.opentransfer.com>
Date: Wed, 21 Sep 2005 16:43:23 -0500
From: Bruce Cooper <bruce [at] ledworklights.com>
Subject: Errant Katrina Messages

Stagecarft folks:

  Sorry about the supposed to be single person messages that appeared on the
list.  The vagaries and small type of the web-mailer I'm using have caused me to
screw up yet again.

:Bruce Cooper
-- 
LED Worklight Systems
847-445-2668
http://ledworklights.com/LEI-Resources/MostNeeded.html







------------------------------

Date: Wed, 21 Sep 2005 23:02:55 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: purpose of theatre
In-Reply-To: <list-24778750 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0509212302010.15891 [at] viscount.richmondsounddesign.com>
References: <list-24778750 [at] prxy.net>

On Wed, 21 Sep 2005, David R. Krajec wrote:

> You're both right.  The purpose of theatre is to educate AND to entertain.
> You can be entertained and still learn something.

And if a show doesn't do both, it will usually fail... ;-)

Charlie

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <8d.2fe719dd.306342cc [at] aol.com>
Date: Wed, 21 Sep 2005 19:12:12 EDT
Subject: Re: purpose of theatre

In a message dated 21/09/05 23:04:52 GMT Daylight Time, 
charlier [at] RichmondSoundDesign.com writes:

> > You're both right.  The purpose of theatre is to educate AND to entertain.
>  > You can be entertained and still learn something.
>  
>  And if a show doesn't do both, it will usually fail... ;-)

If it doesn't entertain, it will certainly fail. I'm sure that we have all 
sat through shows just waiting for the interval, or the final curtain. I can 
think of one or two when I just haven't gone back after the interval.

About the educative intent, I am less sure. Many plays, unless attacked by 
some fool of a director with a 'concept', give you an idea of the social mores 
at the time when they were written. Oscar Wilde and Noel Coward certainly do. 
Equally, Ibsen and Chekhov are set in particular societies at particular times.

But, very many plays, and operas too, are about inter-personal relationships, 
as are most good novels. Unless you are a sociologist or a psychologist, you 
learn little or nothing from them, and even then it is filtered through the 
playwright's or novelist's view.

Take Shakespeare's "Richard III". This is blatant political propaganda, 
written to please, or at least not upset, the grand-daughter of the monarch who 
deposed him. There are other views of him, and of Henry VII, his successor: I 
have lit plays based on these. They were not great plays, but they presented a 
different view. I am not a historian, but it seemed to me that they made as much 
sense of his reign as did Shakespeare. Perhaps more.

Go back further, to Athens. Many Athenian playwrights wished to comment on 
the government of the city, and did so in their plays. Aristophanes was well 
known for this, as "The Birds" testifies. But, how many other works are lost? A 
Greek drama festival includes Sartyr plays, which were pure burlesques. The 
same goes for 'Commedia del Arte' in Venice, which I think grew out of these. 
Stock characters; stock situations.

Maybe we can learn from Arthur Miller. "The Crucible" is a powerful 
condemnation of McCarthyism, and bigotry in general. But you need to know about it 
before you can see the play for what it is.

In other words, what I am saying is that if a piece of theatre can educate 
you, you probably know it already. Be entertained, and relax.


Frank Wood

------------------------------

Date: Thu, 22 Sep 2005 00:18:45 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: purpose of theatre
In-Reply-To: <list-24784047 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0509220016520.16229 [at] viscount.richmondsounddesign.com>
References: <list-24784047 [at] prxy.net>

On Wed, 21 Sep 2005, FrankWood95 [at] aol.com wrote:

> In other words, what I am saying is that if a piece of theatre can educate
> you, you probably know it already. Be entertained, and relax.

With such an astute analysis of political/theatrical polemics, I'm surprised you 
are a fan of Thatcher ;-)

Charlie

------------------------------

Date: Thu, 22 Sep 2005 00:36:40 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Disney in New Orleans
In-Reply-To: <list-24780108 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0509220034170.16229 [at] viscount.richmondsounddesign.com>
References: <list-24780108 [at] prxy.net>

On Wed, 21 Sep 2005, Wood Chip-P26398 wrote:

> That seems to be severely tested in the current administration:
>
> You can't blame them before the event- after all, they have excellent Intel and it might just work
> You can't blame them during the event- now is the time to fix it and no time to blame
> You can't blame them after the event-  they won't play the blame game, besides it was the other guy's fault.

Fortunately we have the opportunity to educate with the truth well in advance 
and well after the event(s) and just hope that more than 50% of the voting 
populace remember...  Of course it didn't happen last year...

Charlie

------------------------------

Message-ID: <1127350410.4332008adb345 [at] mail.opentransfer.com>
Date: Wed, 21 Sep 2005 19:53:30 -0500
From: Bruce Cooper <bruce [at] ledworklights.com>
Subject: LEI-Resources Rita pre-response

Ladies and Gents:

  Just a short note, now that we have a second catastrophic hurricane bearing
down on the Gulf Coast:  The LEI Resources page will take in requests for aid
and offers of aid for both Hurricane Rita and Hurricane Katrina. 
Offers/requests will be color coded on the page by Hurricane.  A separate
address has been set up, just to ease sorting and alleviate confusion.  To review:

katrina-relief [at] ledworklights.com  -- For requests for/offers of assistance
related to Katrina

rita-relief [at] ledworklights.com -- Newly created, same purpose as above, but for
requests/offers related to Hurricane Rita.

  Now, while I realize that this storm system has yet to make landfall and the
extent of the damage is not yet known, I thought it only prudent to get ahead of
the curve, to get people thinking.  And if  there is someone out there desperate
for the assistance this industry might be able to offer, I'm hoping to offer a
starting point.  <cheesyquote>Let's all be a port in this storm</cheesyquote>

==RED Buttons mean updated pages !==

:Bruce Cooper
-- 
LED Worklight Systems
847-445-2668
http://ledworklights.com/LEI-Resources/MostNeeded.html







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End of Stagecraft Digest #527
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