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

Stagecraft Digest, Issue #696

 1. STONES F-IN ROCK
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 2. Re: Question about what are scenic designers thinking
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 3. Re: Question about what are scenic designers thinking
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 4. Servicing a Martin MX-10
    by barney <barney [at] JosephCHansen.com>
 5. Re: Plexiglas Decking
    by "Johnson, Keith" <Keith.Johnson [at] EKU.EDU>
 6. Re: Question about what are scenic designers thinking
    by "Brian Munroe" <bpmunroe [at] gmail.com>
 7. Another designer rant (drawings)
    by "Brian Munroe" <bpmunroe [at] gmail.com>
 8. Re: Spike Marks -- sort of
    by FrankWood95 [at] aol.com
 9. Re: Question about what are scenic designers thinking
    by FrankWood95 [at] aol.com
10. Re: Servicing a Martin MX-10
    by FrankWood95 [at] aol.com
11. Re: Another designer rant (drawings)
    by "Fred Schoening, Jr." <bigfred [at] mindspring.com>
12. Re: Another designer rant (drawings)
    by FrankWood95 [at] aol.com
13. Blow'n stuff up
    by "Jerry Durand" <jdurand [at] interstellar.com>
14. Re: We're in trouble when...
    by "Michael Powers" <mptecdir [at] gmail.com>
15. Re: Acquisitions - Midnite, Daytime or otherwsie
    by "Michael Powers" <mptecdir [at] gmail.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.

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

Date: Sat, 18 Feb 2006 03:08:01 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: STONES F-IN ROCK
Message-id: <000a01c6348c$59a66260$0202a8c0 [at] HUNKACRAP>
References: <list-27726480 [at] prxy.net>

<<Hey Paul,

Did you really mean to leave this part out?!

"I rate "Satisfaction" as one of the most tepid and
dull rock songs ever to make the Top Ten list," Tom
said warmly.

Paul>>

No... I'm going through a personal/family crisis right now while I'm doing
my TV show. (I'm the Art Director for "Flight 29 Down" a kids show for
Discovery Kids Network which currently airs on NBC Saturdays) I'm also
trying to switch from PC to Mac which is not as easy as everyone said. I was
kind of in a hurry and didn't take the time to write a Swiftie.

I hope the list can find it in its collective heart to forgive me...(sniff).

Laters,

Paul

"Have Bruce sit by the fire" said Tom warmly.



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

Date: Sat, 18 Feb 2006 03:10:05 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: Re: Question about what are scenic designers thinking
Message-id: <000c01c6348c$a328be60$0202a8c0 [at] HUNKACRAP>
References: <list-27726480 [at] prxy.net>

<<I don't understand the problem with yellowed newspapers and sepia-themed
productions.  Yes, I agree that the actual eighteen hundreds didn't ACTUALLY
look like that, but I feel that it's entirely legitimate for a designer to
interpret it in that way.  More importantly, I think that it's entirely
possible for an audience member to interpret the days of yore in such a
manner.>>

Designers can do anything they want. The question remains whether what they
do is any good... whether their "vision" helps or hinders the production.
Sepia tones are somewhat of a tired cliché but if a designer wants use that
palette, more power to 'em.

To perhaps clarify what I meant about yellowed newspapers, what color is the
newspaper you buy today? In a period piece, everything is "new" not old, and
while in a historically accurate set I would use the real antique items when
possible, they would be presented as "contemporary" items, not antique.

A side note: I look back at when I first started designing (before gravity)
and see how I was afraid of color. I see it in young designers today. It
shows most when the show's palette is black and white. I did a few black and
white shows, then began adding primaries and strong colors. It took me years
to become comfortable with subtle palettes and interwoven textural colors.

But I still don't like orange.

Laters,

Paul

"My family has a great future", said Tom clandestinely.



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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Question about what are scenic designers thinking
Date: Sat, 18 Feb 2006 09:02:39 -0500
Message-ID: <000001c63493$fac6d790$6501a8c0 [at] Dell>
In-Reply-To: <list-27729194 [at] prxy.net>


> Designers can do anything they want. The question remains 
> whether what they do is any good... whether their "vision" 
> helps or hinders the production.

I would add, "...And whether they actually have vision or are just relying
on easy stereotypes."


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

Message-ID: <43F742F3.8020201 [at] JosephCHansen.com>
Date: Sat, 18 Feb 2006 10:53:23 -0500
From: barney <barney [at] JosephCHansen.com>
Subject: Servicing a Martin MX-10

I work as a lighting designer with a HS here in NJ.  A couple years ago 
I bought a couple Martin MX-10 units.  They have worked well until this 
winter when I cannot get one of the units to focus.  The service manual 
tells me to make sure I lubricate the focus mechanism but does not tell 
me where to do this.  Is there someone willing to help me troubleshoot 
this problem.

When I run the focus in the manual mode from one end to the other, it is 
quiet, then goes tick-tick-tick-tick, then quiet, then sounds to run 
smooth, the quiet.  I do not see any difference in the focus at any 
point during this process.

Thanks

-- 
Barney Simon
JC Hansen Co., Inc
Drapes Drops and Dance Floors

423 West 43rd Street, NYC
212-246-8055 F:212-246-8189
JCHansen.com
866-988-8055 



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

Subject: RE: Plexiglas Decking
Date: Sat, 18 Feb 2006 10:57:33 -0500
Message-ID: <2175145D8764B145B932DA9D45DE6C48015EBFAA [at] FACSTAFF.facultystaff.eku.edu>
From: "Johnson, Keith" <Keith.Johnson [at] EKU.EDU>

I used 3/4" Plexi many years ago for a 4 x 8 platform and framed it on =
2' centers.  It worked fine.

Keith W. Johnson
Associate Professor
Designer/Technical Director
EKU Theatre
306 Campbell Bldg.
Eastern Kentucky University
521 Lancaster Ave.
Richmond, KY 40475
phone:=A0859-622-1321
email: keith.johnson [at] eku.edu

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jason =
Allyn-Schwerin
Sent: Friday, February 17, 2006 6:58 PM
To: Stagecraft
Subject: Plexiglas Decking

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

I'm working on a design that calls for Plexiglas decking on platforms.
 Framing is spec'd at 4' x 4'.  I've been told that 3/4" should do the
trick, but wanted to see what the wisdom of the list thought.

Thanks,

Jason Allyn-Schwerin
jason.allyn [at] gmail.com

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

Message-ID: <b7aa28010602180914k16fa18f2ye7b2b4e8b43eb2b6 [at] mail.gmail.com>
Date: Sat, 18 Feb 2006 12:14:01 -0500
From: "Brian Munroe" <bpmunroe [at] gmail.com>
Subject: Re: Question about what are scenic designers thinking
In-Reply-To: <list-27729194 [at] prxy.net>
References: <list-27726480 [at] prxy.net> <list-27729194 [at] prxy.net>

On 2/18/06, Paul Guncheon <paul.guncheon [at] verizon.net> wrote:

> Designers can do anything they want. The question remains whether what th=
ey
> do is any good... whether their "vision" helps or hinders the production.

I have to disagree.  Designers have to serve the production, not just
what they might want to do.  They need the directors approval, and
their design has to fit within the physical and monetary constraint of
that show

Hopefully the scenic designer is also collaborating with the other
designers on the show.

Brian Munroe
bpmunroe [at] gmail.com

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

Message-ID: <b7aa28010602181000h90f85adw42eb703203024e3f [at] mail.gmail.com>
Date: Sat, 18 Feb 2006 13:00:26 -0500
From: "Brian Munroe" <bpmunroe [at] gmail.com>
Subject: Another designer rant (drawings)

As long as we are picking on designers, I would like to complain about
drawings and title blocks.

Title blocks are one of the most important elements of drawings, and
lately they seem to be out of control.  The most important elements,
for me as a production carpenter, are the drawing name, plate number,
and scale.  Not the huge disclaimer, not the name of the show
displayed in a huge graphic that obsures everything else.  The name
and number.  I should not have to hunt for the drawing number.

The title block should be in the bottom right or right edge.  Not the
bottom middle or top right.  If you have to flip thru the drawings or
unfold the drawings to find the title block, it adds confusion and
wasted time to the process.

I have recently seen title blocks in the bottom middle, hidden when
the drawings were folded or rolled.  I have seen drawings where the
largest item in the title block was "Of 7", as in plate 1 of 7.  It
made it look like every drawing was number 7.

If there are more then 6 or 7 plates, include an index of drawings as
a cover page to the roll of drawings.  I did a show last year that had
an index of drawings on every page, at the far right side.  That was
nice.

And please pick a paper size and stick with it.  I can understand a
ground plan and section being a bigger paper size, but everything else
should be the same size.

If you use an odd scale, note it very well. 1/4" and 1/2" are pretty
standard.  I don't think 3/8" is.

Thanks for listening and letting me vent.

Brian Munroe
bpmunroe [at] gmail.com

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

From: FrankWood95 [at] aol.com
Message-ID: <12a.6eb02755.3128bde9 [at] aol.com>
Date: Sat, 18 Feb 2006 13:14:01 EST
Subject: Re: Spike Marks -- sort of

In a message dated 18/02/06 04:24:15 GMT Standard Time, 
gwilliams [at] appstate.edu writes:

> As a photographer who enjoys landscapes, I like to think of them as  
>  "Godsends".

Hear, hear!

When we bought our house in France some nineteen years ago, the distribution 
was all overhead, and did nothing for the appearance of a small mediaeval 
town. Now it is tidily stowed just under the eves, going underground at the street 
crossings. 


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <ae.34dcd25.3128c4da [at] aol.com>
Date: Sat, 18 Feb 2006 13:43:38 EST
Subject: Re: Question about what are scenic designers thinking

In a message dated 18/02/06 13:10:41 GMT Standard Time,=20
paul.guncheon [at] verizon.net writes:

> Designers can do anything they want. The question remains whether what the=
y
>  do is any good... whether their "vision" helps or hinders the production.
>  Sepia tones are somewhat of a tired clich=E9 but if a designer wants use=20=
that
>  palette, more power to 'em.

Say rather that they can do anything the director wants. They will have thes=
e=20
"concepts". Some work: some don't. I have seen "Cosi fan Tutte" done on a=20
Missippi steamboat, and "The Magic Flute" done on and under a Caliofornian=20
freeway. The first, by Jonathan Miller, worked: tha second, by Peter Sellars=
, most=20
emphatically did not. I never thought that Mozart could be made boring, but=20=
he,=20
and his fellow criminals managed just that. Lothar Zagrozek in the pit, with=
=20
dreary tempi, and Wolfgang Goebbel as LD, by lighting the upper area with 12=
=20
300W builders floods, screwed on the front of the roadway. You know the sort=
 of=20
thing; a 300 or 500W linear bulb in a parabolic reflector. Imagine three=20
hours odd of constant uplight, with constant intensity and open white throug=
hout.

With my fight arranger hat on, the costumes often have to be compatible with=
=20
wearing swords. R&J has four set fights, and a general brawl. "West Side=20
Story" is a good way of going to modern dress, but it translated it into a=20
knife-wielding culture.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <2e3.27d1794.3128c5ac [at] aol.com>
Date: Sat, 18 Feb 2006 13:47:08 EST
Subject: Re: Servicing a Martin MX-10

In a message dated 18/02/06 15:55:02 GMT Standard Time, 
barney [at] JosephCHansen.com writes:

> When I run the focus in the manual mode from one end to the other, it is 
>  quiet, then goes tick-tick-tick-tick, then quiet, then sounds to run 
>  smooth, the quiet.  I do not see any difference in the focus at any 
>  point during this process.

This sounds like a stripped gear in the drive, probably due to a stiffness at 
a late point in the drive train. 


Frank Wood

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

Message-ID: <3541404.1140302692506.JavaMail.root [at] mswamui-blood.atl.sa.earthlink.net>
Date: Sat, 18 Feb 2006 16:44:52 -0600 (GMT-06:00)
From: "Fred Schoening, Jr." <bigfred [at] mindspring.com>
Reply-To: "Fred Schoening, Jr." <bigfred [at] mindspring.com>
Subject: Re: Another designer rant (drawings)

Oh, I KNOW!! That totally drives me up a wall! I've done shows 
where no two drawings in the designer's package were the same 
size. Talk about being hard to manage! The smaller ones easily 
get lost in the stack, and the big ones often won't fit in the flat 
file, which isn't small by any stretch.

Can you tell you found one of my pet peeves?!  ; )

"Big Fred" Schoening
Technical Director, Dallas Theater Center
Dallas, Texas, USA

-----Original Message-----
>
>And please pick a paper size and stick with it.  I can understand a
>ground plan and section being a bigger paper size, but everything else
>should be the same size.

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

From: FrankWood95 [at] aol.com
Message-ID: <253.6a5cb65.312902e4 [at] aol.com>
Date: Sat, 18 Feb 2006 18:08:20 EST
Subject: Re: Another designer rant (drawings)

In a message dated 18/02/06 22:45:29 GMT Standard Time, 
bigfred [at] mindspring.com writes:

> Oh, I KNOW!! That totally drives me up a wall! I've done shows 
>  where no two drawings in the designer's package were the same 
>  size. Talk about being hard to manage! The smaller ones easily 
>  get lost in the stack, and the big ones often won't fit in the flat 
>  file, which isn't small by any stretch.

Count yourself lucky! At least you get drawings. All I usually get is an A4 
photocopy of a floor plan, which may be either 1/4":1' or 1:50. Since all the 
theatre plans were redrawn on 1:50, metric, neither is terribly useful. The 
theatre is unavoidably imperial, having been finished in 1964, and all the 
modules and rostra are imperial. Transferring imperial drawings on to metric master 
plans is something I can do without.

Some designers are very good, but all this does is to transfer the problem to 
them. The stage floor and the standard stock rostra are imperial, period. As 
an LD, it's a small problem. Our rigging arrangements, from bridges easily 
accessible from the control room makes the precise positioning of luminaires 
easy. Those of you who deal with flown bars would have more trouble.


Frank Wood

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

Message-ID: <5001.67.50.174.58.1140312112.squirrel [at] interstellar.com>
Date: Sat, 18 Feb 2006 17:21:52 -0800 (PST)
Subject: Blow'n stuff up
From: "Jerry Durand" <jdurand [at] interstellar.com>

For those who would like to see what sort of pyro rockets I'm currently
making, I've started posting pictures on our server at
www.interstellar.com/photos/ under "Western Winter Blast 2006".  More wil=
l
be posted as we take them.

Any WPA member can get a manufacturing pass to build stuff (doesn't have
to be rockets), we do this twice a year.  More information here:
www.westernpyro.org



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

Message-ID: <58f67b0f0602181906w6b5c9688va9c0bf6e34a17aff [at] mail.gmail.com>
Date: Sat, 18 Feb 2006 21:06:40 -0600
From: "Michael Powers" <mptecdir [at] gmail.com>
Subject: RE: We're in trouble when...

Like many others, I have been making wine for years.  My first batch
was in 1970.  My best "everyday" wine is a raisin wine that is kind of
like a Zinfandel (sp??) with a heavy body and very light bouquet.

I keep saying I'm going to try beer, which is actually my drink of
choice if it's dark or stout, but just haven't got around to it.....
yet...


--
Michael

Michael Powers
Director of Operations
Central Lighting & Equipment
1720 Fuller Rd. Suite 150
West Des Moines Iowa 50265
515-277-4190   877-977-4190
Fax  515-277-2295
515-557-0178  cell
michael [at] clelights.com

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

Message-ID: <58f67b0f0602182341g6bd13e6cx3d4d3febcc5028fd [at] mail.gmail.com>
Date: Sun, 19 Feb 2006 01:41:00 -0600
From: "Michael Powers" <mptecdir [at] gmail.com>
Subject: Re: Acquisitions - Midnite, Daytime or otherwsie

Talking about "found" materials for a set reminds me of a set I
designed for "Everybody Loves Opal" back in 1973.  I was set/lighting
designer for the original Cherry County Playhouse in Traverse City,
Michigan, before Pat Paulson bought it.  Opal was played by Vivian
Vance (Ethel Mertz of the I Love Lucy show, which leads to several
other stories!!).

The show takes place in Opal's house which is an old house in the
middle of a junk yard run by Opal and her father before her. Well kept
but very patched together over the years.  The eclectic nature of the
place is  exemplified by the pole at the base of the stairs that holds
up the second story floor and a clothesline of tea bags.  When Opal
first enters at the top of the show, she boils some water and then
dips her cup, successively, in each of the tea bags until it is dark
enough.

At that time, the Playhouse admin offices, rehearsal hall and scene
shop were housed in a building that in the 1920's had been one of
Traverse City's finest bordellos.  The basement/scene shop had been
the reefer area for the restaurant (couple of other stories here), the
first floor was the rehearsal hall, the second floor was the business
offices and the top two floors were "abandoned".

The director and I decided that that were three distinct areas of the=20
stage, Opal's area, the con artist's area and the "common" area.  The
stage was arena so the floor was a major part of the design.

Curiosity had already led me to explore the top two floors of the
building and I had discovered a wonderland of period mouldings, door
frames and floor coverings.  The final floor design for the show was
three sections of highly patterned, very 1930's style, (totally
unavailable then, 1973, or now) joined by intentional duct tape seams.
The worn traffic patterns in the used linoleum were lined up to the
entrance exit paths of the set.  The final result was a couple of
hours of salvage and install that created a wonderful product that
would have taken a skilled scenic artist a week to create.

Michael

Michael Powers
Director of Operations
Central Lighting & Equipment
1720 Fuller Rd. Suite 150
West Des Moines Iowa 50265
515-277-4190   877-977-4190
Fax  515-277-2295
515-557-0178  cell
michael [at] clelights.com

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

End of Stagecraft Digest #696
*****************************