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Subject: Stagecraft Digest #950
Date: Thu, 14 Sep 2006 12:03:52 -0700
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #950

 1. Re: The results are in...(long post)
    by <Stephen.Rees [at] fredonia.edu>
 2. Re: Payment Rates
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 3. Re: Payment Rates
    by KEITH ARSENAULT <iaeg [at] aol.com>
 4. Re: Television or Video Display rental in Las Vegas?
    by "Alf Sauve" <alf.sauve [at] mindspring.com>
 5. Re: Payment Rates
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
 6. Pay rates/ thanks
    by b Ricie <b_ricie [at] yahoo.com>
 7. Re: Television or Video Display rental in Las Vegas?
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
 8. Re: Payment Rates
    by Steve Shelley <mrtemplate [at] earthlink.net>
 9. Re: The results are in...(long post)
    by Rigger <rigger [at] tds.net>
10. Re: Payment Rates
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
11. Re: Payment Rates
    by "Fred Schoening, Jr." <bigfred [at] mindspring.com>
12. Re: Payment Rates
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
13. Re: Payment Rates
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
14. Re: The results are in...(long post)
    by "Bill Conner" <bill-conner [at] att.net>
15. Re: Payment Rates
    by Rigger <rigger [at] tds.net>
16. Re: Payment Rates
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
17. Re: Television or Video Display rental in Las Vegas?
    by Ford Sellers <fhs4 [at] cornell.edu>
18. Re: The results are in...(long post)
    by "Peter Scheu" <peter [at] scheuconsulting.com>
19. Re: Wireless Microphone Rentals in Miami, Fl
    by SS <cueonego [at] gmail.com>
20. Re: Television or Video Display rental in Las Vegas?
    by Philip Johnson <Philip.Johnson [at] tamucc.edu>
21. Re: The results are in...(long post)
    by "Curtis L. Mortimore" <clmortimore [at] bsu.edu>
22. Re: Payment Rates
    by SS <cueonego [at] gmail.com>
23. Hanging in Air Pump
    by tech1 <tech1 [at] gac.edu>
24. Recognition and thanks,  was Re: Payment Rates
    by "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
25. Re: The results are in...(long post)
    by Philip Johnson <Philip.Johnson [at] tamucc.edu>
26. Re: Hanging in Air Pump
    by KEITH ARSENAULT <iaeg [at] aol.com>
27. Re: Payment Rates
    by "Jason Cowperthwaite" <jasonclights [at] gmail.com>
28. Re: Hanging in Air Pump
    by "Jason Cowperthwaite" <jasonclights [at] gmail.com>
29. Theater Planning (was RE: The results are in...(long post))
    by "Peter Scheu" <peter [at] scheuconsulting.com>
30. Re: Wireless Microphone Rentals in Miami, Fl
    by "Eric Lin" <ericclin [at] gmail.com>
31. Re: Cue Lights
    by "Paul Guncheon" <paul.guncheon [at] hawaiiantel.net>
32. Re: The results are in...(long post)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
33. Re: Theater Planning (was RE: The results are in...(long post))
    by KEITH ARSENAULT <iaeg [at] aol.com>
34. Re: The results are in...(long post)
    by "Bill Nelson" <billn [at] peak.org>
35. Re: Cue Lights
    by Chip Wood <chip.a.wood [at] gmail.com>
36. Re: The results are in...(long post)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
37. Re: How big should the new theatre be?
    by Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
38. Re: The results are in...(long post)
    by "Bill Nelson" <billn [at] peak.org>
39. Re: Cue Lights
    by Chip Wood <chip.a.wood [at] gmail.com>
40. Re: Recognition and thanks,  was Re: Payment Rates
    by "Bill Nelson" <billn [at] peak.org>
41. Re: ADA and box office question
    by "Carleton Underwood" <cunderwo [at] columbus.rr.com>
42. Re: The results are in...(long post)
    by "Bill Nelson" <billn [at] peak.org>
43. Re: Theater Planning (was RE: The results are in...(long post))
    by "Peter Scheu" <peter [at] scheuconsulting.com>
44. Re: The results are in...(long post)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
45. Re: The results are in...(long post)
    by "Bill Nelson" <billn [at] peak.org>
46. Re: The results are in...(long post)
    by MissWisc [at] aol.com
47. Re: The results are in...(long post)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
48. Re: The results are in...(long post)
    by "Bill Nelson" <billn [at] peak.org>
49. Re: The results are in...(long post)
    by "Peter Scheu" <peter [at] scheuconsulting.com>
50. Gearbox search
    by "Scott Price" <scottprice111 [at] gmail.com>
51. Catwalk/working at height safety
    by "Bill Potter" <bpotter [at] sps.edu>
52. Com Headset Socks?
    by "C. Andrew Dunning" <cad [at] landrudesign.com>
53. Re: Lighting question
    by FrankWood95 [at] aol.com
54. Re: The results are in...(long post)
    by FrankWood95 [at] aol.com
55. Re: Cue Lights
    by FrankWood95 [at] aol.com
56. Re: Catwalk/working at height safety
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
57. Re: Cue Lights
    by FrankWood95 [at] aol.com
58. Re: Catwalk/working at height safety
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
59. Re: disabled
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
60. Re: Catwalk/working at height safety
    by <macarrillo [at] uisd.net>
61. Re: Boot guard
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
62. Re: Catwalk/working at height safety
    by Clive Mitchell <bigclive1 [at] ntlworld.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.

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

Subject: RE: The results are in...(long post)
Date: Thu, 14 Sep 2006 07:52:51 -0400
Message-ID: <F9E613F2DD66A645B6BD1423FA0EEC32562E1B [at] exchangeb3.ad.fredonia.edu>
In-Reply-To: <list-34812536 [at] prxy.net>
From: <Stephen.Rees [at] fredonia.edu>

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CjxjbG1vcnRpbW9yZUBic3UuZWR1Pg0KDQo=

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Payment Rates
Date: Thu, 14 Sep 2006 08:05:12 -0400
Message-ID: <000c01c6d7f6$084a6de0$6701a8c0 [at] Dell>
In-Reply-To: <list-34822528 [at] prxy.net>

> When 
> pictures and bios are put on display in the lobby, often AD, 
> Stage Manager, ASM are included
> - but the set/costume/lighting/sound/makeup designers are not.

I'm frequently asked for a head shot for the lobby display.  I always give
them one of my dog:

http://www.jeffsalzberg.com/shadow2.jpg


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

In-Reply-To: <list-34828316 [at] prxy.net>
References: <list-34828316 [at] prxy.net>
Message-Id: <3F8CB7FF-C0CC-4C1D-B924-AF732F3CC382 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Payment Rates
Date: Thu, 14 Sep 2006 08:08:05 -0400

does that piss off your dog ?

: - )

sorry, , cheap shot, , just couldn't resist though, ,



On Sep 14, 2006, at 8:05 AM, Jeffrey E. Salzberg wrote:

I'm frequently asked for a head shot for the lobby display.  I always  
give
them one of my dog:





Keith L Arsenault
Tampa, Florida

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Message-ID: <007f01c6d7f6$caad00a0$0300a8c0 [at] ALFOFFICE>
Reply-To: "Alf Sauve" <alf.sauve [at] mindspring.com>
From: "Alf Sauve" <alf.sauve [at] mindspring.com>
References: <list-34818785 [at] prxy.net>
Subject: Re: Television or Video Display rental in Las Vegas?
Date: Thu, 14 Sep 2006 08:09:51 -0400

I suggest you go just buy something really nice from one of the big box 
retailers.  (Fry's have a LV store!)

Pay a little more, get a good flat panel TV with a wide viewing angle (Many 
PC monitors have a rather narrow viewing angle, both horizontal and 
vertical.)  Keep all the packing material and ship it home when you're done. 
OR BETTER, give it away as a door prize at the end of the show to one of 
your prospects.

I used to give our trade show stuff to my execs in appreciation for them 
coming to the show and "working" the prospects.

Alf

----- Original Message ----- 
From: "Mt. Angel Performing Arts Center" <admin [at] mtangelperformingarts.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Thursday, September 14, 2006 12:50 AM
Subject: Television or Video Display rental in Las Vegas?


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hi all -
>
> the company I work for when I'm not doing theatrical stuff is exhibiting 
> at a trade show in Las Vegas at the end of the month.
>
> We need to rent/buy a television display (we need something in the 25 inch 
> or slightly larger range) and it must have a S-video input.
>
> A rental house (Rentex) has a 25 inch RCA TV/VCR for $225 for the run of 
> the show, but that's only about $25 less than buying one and throwing it 
> away after we're done.
>
> Any leads on a rental firm in LV that can deliver/pick up to the 
> convention center? Alternatively, we can pick it up and return it, but 
> that's more of a hassle in an already congested move-in/out cycle.
>
> Thanks in advance
>
> Carla
>
> 



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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 14 Sep 2006 12:18:25 GMT
Subject: Re: Payment Rates
Message-Id: <20060914.051912.833.439756 [at] webmail34.lax.untd.com>

But we ARE helping THEM...to artistically develop and do their job. =

Please re-read the quotation. They are not thanking us for helping =

put the show on; they are thanking us for helping THEM. =

/s/ Richard
_________________________
<snip>
Even though I've been a Resident Designer for 12 years (and for the =

last 5 years, TD) at my school, the actrons still write on the =

closing night card, "Thanks for helping us!"  Sheesh.  I still design =

elsewhere in the country, and in the region, but to this high school, =

I'm just 'helping' them <snip>
     - Jon Ares



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

Message-ID: <20060914122933.31377.qmail [at] web50604.mail.yahoo.com>
Date: Thu, 14 Sep 2006 05:29:32 -0700 (PDT)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Pay rates/ thanks
In-Reply-To: <list-34820081 [at] prxy.net>

It comes from the top. If the director does not let
the cast know what the crew does, then the cast will
have no clue. Once, an actor called me "the help" I
pointed out that though it was true, I still received
better billing in the program, and a larger paycheck
at the end of the gig. Educate them when you can and
ignore them when education does not work.


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 

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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 14 Sep 2006 12:46:24 GMT
Subject: Re: Television or Video Display rental in Las Vegas?
Message-Id: <20060914.054644.833.439862 [at] webmail34.lax.untd.com>

Dear Carla,
I concur that the Fry's in Las Vegas is well-stocked. Just head south =

on Las Vegas Blvd ('The Strip') and you will see it. It is located =

between Las Vegas Blvd and Interstate 15 southbound to Los Angeles. =

Of course, if you were buying it for the LDI trade show, I would be =

tempted to pay the $25 differential and take it away myself <g>. =

Seriously, just create a sign and raffle the TV off by providing a =

tray to collect business cards, then pick one as the show is closing. =

They must be present to win. It is really the easiest way to both =

collect business cards from potential clients and dispose of the TV.
/s/ Richard
________________
I suggest you go just buy something really nice from one of the big =

box retailers.  (Fry's have a LV store!)
Alf
_______________________

> Hi all -
> the company I work for when I'm not doing theatrical stuff is =

exhibiting at a trade show in Las Vegas at the end of the month.
> We need to rent/buy a television display (we need something in the =

25 inch or slightly larger range) and it must have a S-video input.
> A rental house (Rentex) has a 25 inch RCA TV/VCR for $225 for the =

run of the show, but that's only about $25 less than buying one and =

throwing it away after we're done.
> Any leads on a rental firm in LV that can deliver/pick up to the =

> convention center? Alternatively, we can pick it up and return it, =

but that's more of a hassle in an already congested move-in/out cycle.
> Thanks in advance
> Carla

 


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

Date: Thu, 14 Sep 2006 08:56:19 -0400
Subject: Re: Payment Rates
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C12EC9B3.75D6%mrtemplate [at] earthlink.net>
In-Reply-To: <list-34815913 [at] prxy.net>

On the other hand, if they don't perform, there's not much reason for us to
be around in the first place. As the book says:

"if they don't perform, you don't get paid".


On 9/13/06 10:26 PM, "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>> I've been asked to
>> find out the payment scales for all those people that help
>> put a show up:
> 
> I'm always amused when performers thank me for "helping" put the show up; as
> the lighting designer, I am in every scene, which few of them are.  It's my
> show as much as -- maybe more than -- it is theirs.
> 

-- 
Steve Shelley
SoftSymbols Designer
MrTemplate [at] Earthlink.net
www.fieldtemplate.com



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

Message-Id: <p06230900c12f025e801b [at] [192.168.0.3]>
In-Reply-To: <list-34822034 [at] prxy.net>
References: <list-34812536 [at] prxy.net> <list-34822034 [at] prxy.net>
Date: Thu, 14 Sep 2006 09:04:13 -0400
From: Rigger <rigger [at] tds.net>
Subject: Re: The results are in...(long post)

At 12:27 AM -0700 9/14/06, Bill Nelson wrote:

>>  * Battens should be at least 70'.
>
>On a 40 foot wide stage? Note that, if you do that and only have 20 foot
>wide wings, there will only be 5 feet of clearance between the ends of the
>battens and the wing walls. Hang some tabs offstage of those and, all of a
>sudden, all that nice wing space starts to disappear.


On first read-through, I thought that note meant how high the battens 
trimmed out to. If it is in fact a batten length note...

Lemmetellya... The Wharton Center's Great Hall is 110' wall-to-wall, 
with 84' battens on nine lift-line linesets. All of us who've worked 
the rail there would gladly trade body parts to shorten those suckers 
by a 21' pipe section and two liftlines, in exchange for the added 
clear wingspace and less moving mass in the fly system.

You don't really need 15' of batten either side of the pro for 
masking, especially if you get side-tab pipes.

-- 
Dave Vick
rigger [at] tds.net

  The only good thing to come out of Religion was the music.

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Payment Rates
Date: Thu, 14 Sep 2006 09:06:14 -0400
Message-ID: <000f01c6d7fe$93aecf90$6701a8c0 [at] Dell>
In-Reply-To: <list-34829650 [at] prxy.net>

 
> "if they don't perform, you don't get paid".

...And without sets, lighting, and costumes, no one's going to pay $30 to
see them perform, so *they* won't get paid.


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

Message-ID: <150884.1158239418644.JavaMail.root [at] mswamui-swiss.atl.sa.earthlink.net>
Date: Thu, 14 Sep 2006 08:10:18 -0500 (GMT-05:00)
From: "Fred Schoening, Jr." <bigfred [at] mindspring.com>
Reply-To: "Fred Schoening, Jr." <bigfred [at] mindspring.com>
Subject: Re: Payment Rates

I agree with Bruce. Theatre is a collaborative art (Theatre 101, 
8am, day 1.) We all "help" put up the show - technicians, actors, 
directors, admin folks, facilities personnel, etc. No one aspect of 
the show is so great that it overrides all the others, and if any 
one of those aspects were missing it would be significantly 
detrimental.

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


-----Original Message-----
>
>	I get the same kind of thanks from Community Theatre folks, but I  
>take no offence, nor even amusement. Their gratitude is sincere, and  
>I understand what they mean. What would you rather hear them say?
>
>	I'm sure none of us expect them to say something like "Thanks for  
>single handedly making this show possible"! You are, and should be,  
>"Helping" in that you are not hindering nor disconnected from the show.
>
>	I suggest as a reply: "You're welcome, and thank YOU for helping us  
>put the show up by acting in it."  It's not "Us Vs. Them" - we are  
>all on the same team, and we should be thanking each other.
>
>Bruce


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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Payment Rates
Date: Thu, 14 Sep 2006 09:13:10 -0400
Message-ID: <001001c6d7ff$8ddf93f0$6701a8c0 [at] Dell>
In-Reply-To: <list-34828408 [at] prxy.net>


> does that piss off your dog ?

No, but she's started demanding Equity scale....


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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Cc: bigfred [at] mindspring.com ('Fred Schoening, Jr.')
Subject: RE: Payment Rates
Date: Thu, 14 Sep 2006 09:17:24 -0400
Message-ID: <001101c6d800$258c5030$6701a8c0 [at] Dell>
In-Reply-To: <list-34829948 [at] prxy.net>


> I agree with Bruce. Theatre is a collaborative art (Theatre 101, 
> 8am, day 1.) We all "help" put up the show

Absolutely, which was my point as well.


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

Message-ID: <002901c6d800$d72343d0$5fac1bac [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: The results are in...(long post)
Date: Thu, 14 Sep 2006 08:12:25 -0500

While you have made a remarkable effort in a very short time, I believe that 
you institution would be well served by hiring a professional theatre 
planner, someone with experience in programming performing arts facilities. 
I won't comment on specifics as it normally is several weeks of work but I 
do fee bad that some ideas on total size - and thus budget - may be derived 
form your 1 day exercise and when all of the forgotten space needs are 
discovered or the actual sizes realized, something else will have to be 
reduced.

Good luck.

Bill Conner ASTC 


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

Message-Id: <p06230901c12f06627116 [at] [192.168.0.3]>
In-Reply-To: <list-34829864 [at] prxy.net>
References: <list-34829864 [at] prxy.net>
Date: Thu, 14 Sep 2006 09:16:38 -0400
From: Rigger <rigger [at] tds.net>
Subject: Re: Payment Rates

At 9:06 AM -0400 9/14/06, Jeffrey E. Salzberg wrote:

>>  "if they don't perform, you don't get paid".
>
>...And without sets, lighting, and costumes, no one's going to pay $30 to
>see them perform, so *they* won't get paid.


There's no "I" in "Team."

-- 
Dave Vick
rigger [at] tds.net

   If Helen Keller had psychic ability,
    would you say that she had a "fourth sense"?

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Payment Rates
Date: Thu, 14 Sep 2006 09:58:54 -0400
Message-ID: <001201c6d805$ee7244a0$6701a8c0 [at] Dell>
In-Reply-To: <list-34830856 [at] prxy.net>

> >...And without sets, lighting, and costumes, no one's going=20
> to pay $30=20
> >to see them perform, so *they* won't get paid.
>=20
>=20
> There's no "I" in "Team."

My point, exactly.  I'm not saying that we're more important than they; =
my
point is that they would benefit greatly by realizing --as we do-- that =
it's
a collaborative effort.


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

Message-Id: <6.2.5.6.2.20060914100449.03339590 [at] cornell.edu>
Date: Thu, 14 Sep 2006 10:07:04 -0400
From: Ford Sellers <fhs4 [at] cornell.edu>
Subject: Re: Television or Video Display rental in Las Vegas?
In-Reply-To: <list-34818785 [at] prxy.net>
References: <list-34818785 [at] prxy.net>

Encore was the big rental place when I was out there.   I would tend 
to agree with the other posts, though.  Buy a good display, collect 
business cards, and draw for a winner at the close of the show.  It's 
fun, it takes little effort, it will draw traffic into your booth, 
and you'll collect a boatload of business cards/leads.

-Ford
At 12:50 AM 9/14/2006, you wrote:
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Hi all -
>
>the company I work for when I'm not doing theatrical stuff is 
>exhibiting at a trade show in Las Vegas at the end of the month.
>
>We need to rent/buy a television display (we need something in the 
>25 inch or slightly larger range) and it must have a S-video input.
>
>A rental house (Rentex) has a 25 inch RCA TV/VCR for $225 for the 
>run of the show, but that's only about $25 less than buying one and 
>throwing it away after we're done.
>
>Any leads on a rental firm in LV that can deliver/pick up to the 
>convention center? Alternatively, we can pick it up and return it, 
>but that's more of a hassle in an already congested move-in/out cycle.
>
>Thanks in advance
>
>Carla

************************
Ford H Sellers
Master Electrician
Cornell University
Schwartz Center for the Performing Arts
430 College Avenue
Ithaca NY, 14850
(607) 254-2736  office
(607) 254-2733  fax 



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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: The results are in...(long post)
Date: Thu, 14 Sep 2006 09:24:00 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAd7gu/c6Y5kGdcOrylwYPUwEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-34829832 [at] prxy.net>

Dick Vick wrote:

>Lemmetellya... The Wharton Center's Great Hall is 110' wall-to-wall,=20
>with 84' battens on nine lift-line linesets. All of us who've worked=20
>the rail there would gladly trade body parts to shorten those suckers=20
>by a 21' pipe section and two liftlines, in exchange for the added=20
>clear wingspace and less moving mass in the fly system.Dick,

You may be happy to hear that they are in the process of doing that. I =
noted
several shortened battens there during an inspection I did there at the =
end
of June. They plan on doing all of them eventually.

I also agree that 70' battens are way too long for a 40' opening. I =
always
assume 8-'10' offstage of the opening, depending upon sightlines and how
legs will mask (without tabs). In MY ideal world, there is then an
additional 20'-0" min of offstage space from the ends of the battens.

I can dream, can't I?

Peter Scheu
=20
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


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

Message-ID: <8231e7ea0609140734r6f288981k58f6253209a7e6fa [at] mail.gmail.com>
Date: Thu, 14 Sep 2006 10:34:32 -0400
From: SS <cueonego [at] gmail.com>
Subject: Re: Wireless Microphone Rentals in Miami, Fl
In-Reply-To: <list-34819321 [at] prxy.net>
References: <list-34819321 [at] prxy.net>

> Quantum Entertainment, a student organization at the University of
> Miami is running a musical from Oct 28 to Nov 4th, and we are looking
> to rent about 15 wireless microphones (headset or lavaliers) and 20+
> Ch. soundboard from Oct 20th to Nov 6th.
> Cost is the main concern since we are a student run organization.
> Based on the quotes we have received; for the cost of rental, we could
> purchase around 10 "lower end" UHF systems (the Audio-Technica 2000
> series) with subminiatures, but that is beyond our budget. Does anyone
> have any leads on rental companies (preferably the Miami area) able to
> help us out?


Not a rental house, but an option worth looking into, in a moment of
desperation (no promises either)....but give a call over to Richard
Gamble at FAU in Boca. He quite possibly may be able to work something
out with you with their gear. It may come with the small price of
enlisting a technician/engineer to handle/run the gear. But if it's
who I think it is, it's worth it, don't argue.
:)

Also, you could check DunneAudio, in Pompano. Ask for Bruce. They
specialize in installs and what not, but they may cover rentals. I
don't recall off the top of my small brain. Sorry. However, he may be
able to steer you in a direction if still lost.

Curious....U of M doesn't have some of the gear in question? Or is the
Dept. that has the gear just unwilling to work with you? Just seems a
little odd is all. That question can be answered off list if
preferred.

HTH.

-SS
TTS-EKU
"Anytime four New Yorkers get into a cab together without arguing, a
bank robbery has just taken place."

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

Date: Thu, 14 Sep 2006 09:35:26 -0500
Subject: Re: Television or Video Display rental in Las Vegas?
From: Philip Johnson <Philip.Johnson [at] tamucc.edu>
Message-ID: <C12ED2DE.1444%Philip.Johnson [at] tamucc.edu>
In-Reply-To: <list-34831358 [at] prxy.net>

The other thing you can do is take a tax write-off and donate to a local
charity such as a women's shelter, church or school.  They would probably
appreciate a large television, you can write it off and feel good about
spending the money.


-- 
Philip Johnson
Professor of Theatre
Texas A&M University-Corpus Christi



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

Date: Thu, 14 Sep 2006 10:48:21 -0400
Subject: Re: The results are in...(long post)
From: "Curtis L. Mortimore" <clmortimore [at] bsu.edu>
Message-ID: <C12EE3F5.2F9F%clmortimore [at] bsu.edu>
In-Reply-To: <list-34830237 [at] prxy.net>

Again, thank you all!

Please keep poking holes in my plan. As it has been explained to me, what
"they" (whoever that is ultimately) are really trying to get from us is...
"We need a building XXXXXXX sq. ft. with street access front and back." so
they can then use that number to determine where in the grand scheme of
things a building of that size can exist.

Yes, the most correct thing I agree with is that this is more than a
one-afternoon project and the days, weeks and months of meetings required to
adequately plan such a facility MUST transpire before we get to much further
along in this process.

The question now remains.... How much planning should we do before we know
if there is any possible chance of this making to reality?

-- 
Curtis L. Mortimore
Technical Director
Ball State University
Department of Theatre and Dance
Muncie, IN 47306
765-285-8750
<clmortimore [at] bsu.edu>




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

Message-ID: <8231e7ea0609140752y78c4fc83p62d96a958612289b [at] mail.gmail.com>
Date: Thu, 14 Sep 2006 10:52:59 -0400
From: SS <cueonego [at] gmail.com>
Subject: Re: Payment Rates
In-Reply-To: <list-34830856 [at] prxy.net>
References: <list-34829864 [at] prxy.net> <list-34830856 [at] prxy.net>

> There's no "I" in "Team."


quoting the Budweiser commercial (featuring the egocentric football
player) from a couple years back....

"yeah, but there ain't no WE neither".


In response to the OP, this question (as Dave stated) is a bit more
complicated than one can simply type out for you in this forum.
it depends on whether you are union, and what measures that local
employees, or non union. in which case, are you a professional? in
education? community theatre? where in the country do you reside? cost
of living? budget of employer? The list goes on.
Pinpointing specifics with a wide assortment of variables at play is
tough. In short, Dave and Joe gave good responses which hopefully will
give you something to start with in your research.
Not sure where you go to school, but it may behoove you to put out
some phone calls to your local IA, local houses (professional and
non), companies, talk to other faculty/staff at your univ (or another
in your area that may have a PAC or something), then branch out beyond
your neck of the woods...and so on. Make sense?

HTH. Good luck.


-SS
TTS-EKU
"Anytime four New Yorkers get into a cab together without arguing, a
bank robbery has just taken place."

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

Message-Id: <6B70501F-D10D-4582-9DC0-336BA64360FC [at] gac.edu>
From: tech1 <tech1 [at] gac.edu>
Subject: Hanging in Air Pump
Date: Thu, 14 Sep 2006 09:53:35 -0500

Any suggestions on hanging an actor.  We are doing An Experiment with  
and
Air Pump and need to hang an actress from a noose that she gets cut/ 
taken
down from.

We have a 3/4 Thrust stage so there is no real hanging places in the  
area
--looking at setting up a pulley system.  There will be some audience
members less than 10 feet away.

Any suggestion for harnesses? Things that can hide under
a dress (and a hump)?

Thanks in advance for your help.

T. Wilkens
Gustavus Adolphus College
St. Peter, Minnesota
tech1 [at] gustavus.edu




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

Message-ID: <001001c6d80d$c93d73a0$6401a8c0 [at] amd2200>
From: "Idaho Scenic & Rigging" <idahoscenic [at] earthlink.net>
References: <list-34813172 [at] prxy.net> <list-34815913 [at] prxy.net> <list-34822528 [at] prxy.net>
Subject: Recognition and thanks,  was Re: Payment Rates
Date: Thu, 14 Sep 2006 08:55:14 -0600

Ok,
I have to put in my two cents worth here.
As a Stage manager, and  / or Carpenter, and / or Rigger for theatre
and music shows  I often thank people involved with the show.before
and after the show:  Actors, musicians, technicians, designers, et al.
If they are a part of the show,  THAT show in particular would not be
THAT show if it weren't for their talent.

I think I have said it before on this list.  My particular thrill in
this business is when I hear the 200 people applauding or the 20,000
people cheering . Knowing I was just a tiny part of the process of
presenting it makes me happy.  (It really does, to the point of wet
eyes sometimes)  I don't survive on the thanks from the other
participants, it is appreciated,  but I don't do it for them,   I do
it for the people who are sitting out there, looking this way.

They are the people who, after eliminating all the middle-persons, pay
me, in wage and job satisfaction,
and 99.991% will never know who I am.
Doesn't matter.

Rob't

----- Original Message ----- 
From: "Bill Nelson" <billn [at] peak.org>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Thursday, September 14, 2006 1:52 AM
Subject: Re: Payment Rates


> For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> > I'm always amused when performers thank me for "helping" put the
show
> up; as
> > the lighting designer, I am in every scene, which few of them are.
It's my
> > show as much as -- maybe more than -- it is theirs.
>
> That could be argued. The cast could just as easily perform under
work
> lights, or even a few lamps spaced around the stage. They would
probably
> prefer it, as it would be a lot cooler. It just wouldn't look nearly
as
> good to the audience.
>
> On the other hand, no actors, nothing to light. An audience is not
going
> to pay just to see a prettily lit set.
>
> Yes, I have problems with the lack of recognition. When pictures and
bios
> are put on display in the lobby, often AD, Stage Manager, ASM are
included
> - but the set/costume/lighting/sound/makeup designers are not.
>
> Bill
>


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

Date: Thu, 14 Sep 2006 09:59:50 -0500
Subject: Re: The results are in...(long post)
From: Philip Johnson <Philip.Johnson [at] tamucc.edu>
Message-ID: <C12ED896.144D%Philip.Johnson [at] tamucc.edu>
In-Reply-To: <list-34832733 [at] prxy.net>




On 9/14/06 9:48 AM, "Curtis L. Mortimore" <clmortimore [at] bsu.edu> wrote:

> "We need a building XXXXXXX sq. ft. with street access front and back." so
> they can then use that number to determine where in the grand scheme of
> things a building of that size can exist.

This is how they will determine what the building will cost as well.
The formula is  sq foot of proposed building X current cost of building per
sq foot ( hopefully projected what it will cost to build in say 5 years) =
cost of building.
  

Unfortunately, if you only have a set amount of dollars they will not
approve a building which they cannot afford.  You will then have to
prioritize what it is you want or to build it in phases.  Phase 1 is
theater, phase 2 is academic spaces and so on.

What are the plans for the academic spaces,  As Bracken library, Emmons, and
other buildings are close to your theatre,  how are you going to put a new
space near your existing spaces?  You will want to include lighting labs,
costume shop and other facilities you may have omitted.

Still, it sound exciting to be in the process.

Tell Kip Hey
-- 
Philip Johnson
Professor of Theatre
Texas A&M University-Corpus Christi





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

In-Reply-To: <list-34832887 [at] prxy.net>
References: <list-34832887 [at] prxy.net>
Message-Id: <ED7D7400-9FCC-434C-A47D-16C027328586 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Hanging in Air Pump
Date: Thu, 14 Sep 2006 11:00:24 -0400

DANGER, , DANGER DANGER WILL ROBINSON,

you need to be talking with Foy, , , Hall Associates, , , some one, , ,

I just did a production of FROZEN which ends with a suicide by hanging,

we ended up staging it "implied"  you saw him get on the chair,   
throw the towel over the chin up bar, , you saw him START to wrap it  
around his neck

then a line of dialogue, , then his hand indicated that it was moving  
back to finish the knot, , then BLACK OUT

just too make certain that he never endangered him self, , (and I  
lectured and lectured him that his hand should never get back to his  
neck)

we disassembled the towel and put a velcro seam in it,

even if he had accidently wrapped it around his next and accidently  
fallen off the chair, , the velcro would have given way at about 10  
pounds of pressure

(according to my test )

be very very very very careful, , ,  your script sounds inherently  
dangerous....



On Sep 14, 2006, at 10:53 AM, tech1 wrote:

Any suggestions on hanging an actor.  We are doing An Experiment with  
and
Air Pump and need to hang an actress from a noose that she gets cut/ 
taken
down from.

We have a 3/4 Thrust stage so there is no real hanging places in the  
area
--looking at setting up a pulley system.  There will be some audience
members less than 10 feet away.

Any suggestion for harnesses? Things that can hide under
a dress (and a hump)?

Thanks in advance for your help.

Keith L Arsenault
Tampa, Florida

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Message-ID: <3eb8da960609140808p20a86458v4fa902fc719cace0 [at] mail.gmail.com>
Date: Thu, 14 Sep 2006 11:08:32 -0400
From: "Jason Cowperthwaite" <jasonclights [at] gmail.com>
Subject: Re: Payment Rates
In-Reply-To: <list-34830856 [at] prxy.net>
References: <list-34829864 [at] prxy.net> <list-34830856 [at] prxy.net>

No,   but there is an "m" and an "e".

;)

Jason

On 9/14/06, Rigger <rigger [at] tds.net> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> At 9:06 AM -0400 9/14/06, Jeffrey E. Salzberg wrote:
>
> >>  "if they don't perform, you don't get paid".
> >
> >...And without sets, lighting, and costumes, no one's going to pay $30 to
> >see them perform, so *they* won't get paid.
>
>
> There's no "I" in "Team."
>
> --
> Dave Vick
> rigger [at] tds.net
>
>    If Helen Keller had psychic ability,
>     would you say that she had a "fourth sense"?
>

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

Message-ID: <3eb8da960609140817i3d96c263kdf5b436e0a0a2b9d [at] mail.gmail.com>
Date: Thu, 14 Sep 2006 11:17:01 -0400
From: "Jason Cowperthwaite" <jasonclights [at] gmail.com>
Subject: Re: Hanging in Air Pump
In-Reply-To: <list-34832887 [at] prxy.net>
References: <list-34832887 [at] prxy.net>

I've seen this done in a production of "Power of the Dog" I worked on.
 We wrapped suitibly rated aircraft cable into the inside of hemp rope
w/ a "safety" noose at the bottom (the knot was built to look exactly
like a noose but would fall apart if any tension was put on the loop).
 The aircraft cable was discretly looped and a beaner added.  The
actress who was hung was wearing a climbing harness and was clipped
into the rig, and loop placed over her neck.  The actual setup was
done in sihloette, and then as she was pushed off the hanging
platform, the lights came up for the scene w/ her swinging around
looking rather deadish.  It was extremely convincing as long as the
backstage staff took care to prep the actress and her costume properly
so the true load-bearing equipment was not seen.  Oh... and this was
also done on thrust, but we located it as upstage as possible to help
w/ the illusion.

HTH,

Jason Cowperthwaite

On 9/14/06, tech1 <tech1 [at] gac.edu> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Any suggestions on hanging an actor.  We are doing An Experiment with
> and
> Air Pump and need to hang an actress from a noose that she gets cut/
> taken
> down from.
>
> We have a 3/4 Thrust stage so there is no real hanging places in the
> area
> --looking at setting up a pulley system.  There will be some audience
> members less than 10 feet away.
>
> Any suggestion for harnesses? Things that can hide under
> a dress (and a hump)?
>
> Thanks in advance for your help.
>
> T. Wilkens
> Gustavus Adolphus College
> St. Peter, Minnesota
> tech1 [at] gustavus.edu
>
>
>
>

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: Theater Planning (was RE: The results are in...(long post))
Date: Thu, 14 Sep 2006 11:21:36 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAPbvqJYQ6v0ePDI2KLcpDFwEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-34832733 [at] prxy.net>

Curtis L. Mortimore wrote:

>The question now remains.... How much planning should we do=20
>before we know if there is any possible chance of this making=20
>to reality?

How much money do you have? ;-)

At a minimum, an architect, a theatre consultant, and a financial =
consultant
should be hired to complete a basic feasibility study. What are your
programming needs, and how much money is Ball State (or others) willing =
to
pony up? A project of this scope can be as "cheap" as $10,000,000 or as =
much
as $50,000,000 and up.

Who will be the end users? Will it be a "road house"? Will it be a =
rental
venue? How much operating budget will be available? Etc, etc, etc. Many
questions...

A good article on this can be found here: http://tinyurl.com/gkqer.

Good luck.

Peter Scheu
=20
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


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

Message-ID: <914532060609140823q3bfc70d0s7bd2c9eef04608d9 [at] mail.gmail.com>
Date: Thu, 14 Sep 2006 11:23:12 -0400
From: "Eric Lin" <ericclin [at] gmail.com>
Subject: Re: Wireless Microphone Rentals in Miami, Fl
In-Reply-To: <list-34832240 [at] prxy.net>
References: <list-34819321 [at] prxy.net> <list-34832240 [at] prxy.net>

Thanks for the suggestions, we did check with the University of Miami
Ring Theatre first. They're running a production every 2-3 weeks this
season, so while our performances happen to fall in the gap between
shows, we would cut into their techs so we're looking for an outside
source.

Thanks
Eric

FYI, since there happen to be no dimmers or lights in the space they
work, this groups also spends around $5000 on renting lighting
equipment for each show...smart...


On 9/14/06, SS <cueonego [at] gmail.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> > Quantum Entertainment, a student organization at the University of
> > Miami is running a musical from Oct 28 to Nov 4th, and we are looking
> > to rent about 15 wireless microphones (headset or lavaliers) and 20+
> > Ch. soundboard from Oct 20th to Nov 6th.
> > Cost is the main concern since we are a student run organization.
> > Based on the quotes we have received; for the cost of rental, we could
> > purchase around 10 "lower end" UHF systems (the Audio-Technica 2000
> > series) with subminiatures, but that is beyond our budget. Does anyone
> > have any leads on rental companies (preferably the Miami area) able to
> > help us out?
>
>
> Not a rental house, but an option worth looking into, in a moment of
> desperation (no promises either)....but give a call over to Richard
> Gamble at FAU in Boca. He quite possibly may be able to work something
> out with you with their gear. It may come with the small price of
> enlisting a technician/engineer to handle/run the gear. But if it's
> who I think it is, it's worth it, don't argue.
> :)
>
> Also, you could check DunneAudio, in Pompano. Ask for Bruce. They
> specialize in installs and what not, but they may cover rentals. I
> don't recall off the top of my small brain. Sorry. However, he may be
> able to steer you in a direction if still lost.
>
> Curious....U of M doesn't have some of the gear in question? Or is the
> Dept. that has the gear just unwilling to work with you? Just seems a
> little odd is all. That question can be answered off list if
> preferred.
>
> HTH.
>
> -SS
> TTS-EKU
> "Anytime four New Yorkers get into a cab together without arguing, a
> bank robbery has just taken place."
>

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

Message-ID: <002001c6d811$c24b0d60$0202a8c0 [at] HUNKACRAP>
From: "Paul Guncheon" <paul.guncheon [at] hawaiiantel.net>
References: <list-34820081 [at] prxy.net>
Subject: Re: Cue Lights
Date: Thu, 14 Sep 2006 05:23:40 -1000

<<> The cue light doesn't need to be bright, but it does need to be big.>>

<<Why? We have used 1/2" cue lights for 40 years, with no problems. I should
advocate going to 1/8" LEDs, myself>>

Okay, okay, let's stop this right here.  The lights need to be big.

Big enough to be seen.

As for color blindness, solve that problem when you get to it. In over 30
years in the business, I don't know that I've ever worked with a color blind
stagehand. At least I have never worked with a stagehand who's color
blindness was an issue.

Laters,

Paul

    "Orgasms are overrated", said Tom anticlimactically.



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

In-Reply-To: <list-34822034 [at] prxy.net>
References: <list-34812536 [at] prxy.net> <list-34822034 [at] prxy.net>
Message-Id: <2C2670F4-44CB-47BE-BF41-FFF7DE42BD42 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: The results are in...(long post)
Date: Thu, 14 Sep 2006 11:34:59 -0400


On 14 Sep 2006, at 03:27, Bill Nelson wrote:

>> * 60 line sets on 8=B2 centers, 12=B2 US of plaster-line.
>
> Where is the plaster line - upstage side of the wall or upstage =20
> side of
> the fire pockets (if you will be using a fire curtain)? Will the grand
> drape be flown or will it be a traveler? If the latter, than 12" =20
> clearance
> you are allowing may not be enough. Also, 8" upstage of the grand =20
> to the
> first lineset may not be sufficient for a grand traveler.

	If lineset #1 is a Grand Valance, and lineset #2 is the Grand =
Drape, =20
that gives 20" clearance DS of the Grand.

>> * Box office/Concession area, min 600 sq. ft.
>
> Separate the two areas. Make sure there is plenty of room in front =20
> of the
> box office for a line of people. If you have box office ticket sales
> before the show, it would be nice to have a separate "Will Call" =20
> window.

	A lot of good advice, but I'd be a little sceptical of the =
"Separate =20
the two areas" part. There are advantages to at least having Box =20
office and Concession stand at least connected. (They can be separate =20=

entities, but not completely severed.)

a]	During slow times it is easier for one person two handle both =20=

positions without having to run back and forth across the lobby

b]	Having them connected with a door behind them into a secure =
office =20
is safer and easier when it comes to cash handling.

	Note that these observations come from over 20 years managing =
Cinema =20
complexes before getting back into "Real" Theatre, and may not on the =20=

surface seem to apply to an educational institution Theatre. I do =20
believe though, that they are things to consider nonetheless.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

In-Reply-To: <list-34833816 [at] prxy.net>
References: <list-34833816 [at] prxy.net>
Message-Id: <A35E1A8D-486E-4404-A747-2A7983005EEE [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Theater Planning (was RE: The results are in...(long post))
Date: Thu, 14 Sep 2006 11:47:02 -0400

yes, there will be many questions, and unfortunately often there are  
many who think they have
the answers to those questions and often those are people who  
although they may control
your budget have little or no knowledge of what your venue is  
supposed to be / do etc.

be careful, but stand your ground as best you can, with not only your  
on campus executives but
also out of town consultants those executives may bring who are often  
certain that "they know what is best for you"

I am sure there are wonderful theatrical consultants who treat those  
who actually have to use the
finished product with respect, (and yes, some of the GOOD ONES  
participate here)
but way too often I have witnessed the "big boys" from the "you know  
who" firm
come in an treat the locals as "yokels"

After all , if you live in __________   (fill in the blank with your  
city (any city other than NYC)  you can't possibly know
what you are talking about, right?

I have had the opportunity to stand up to some of these folks and had  
some pretty nasty
encounters with them (if you want names contact me off list)

be firm, state your case, don't let the bastards push you around  
( short of loosing your job of course )

and good luck!



On Sep 14, 2006, at 11:21 AM, Peter Scheu wrote:

Who will be the end users? Will it be a "road house"? Will it be a  
rental
venue? How much operating budget will be available? Etc, etc, etc. Many
questions...

Keith L Arsenault
Tampa, Florida

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Message-ID: <2019.205.215.255.194.1158248962.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34834203 [at] prxy.net>
References: <list-34812536 [at] prxy.net> <list-34822034 [at] prxy.net>
    <list-34834203 [at] prxy.net>
Date: Thu, 14 Sep 2006 08:49:22 -0700 (PDT)
Subject: Re: The results are in...(long post)
From: "Bill Nelson" <billn [at] peak.org>

> 	If lineset #1 is a Grand Valance, and lineset #2 is the Grand Drape,
> that gives 20" clearance DS of the Grand.

Which is why I enquired whether the Grand would be flown out or if it was
to be a traveler.

>> Separate the two areas. Make sure there is plenty of room in front
>> of the
>> box office for a line of people. If you have box office ticket sales
>> before the show, it would be nice to have a separate "Will Call"
>> window.
>
> 	A lot of good advice, but I'd be a little sceptical of the "Separate
> the two areas" part. There are advantages to at least having Box
> office and Concession stand at least connected. (They can be separate
> entities, but not completely severed.)

> a]	During slow times it is easier for one person two handle both
> positions without having to run back and forth across the lobby
>
> b]	Having them connected with a door behind them into a secure office
> is safer and easier when it comes to cash handling.
>
> 	Note that these observations come from over 20 years managing Cinema
> complexes before getting back into "Real" Theatre, and may not on the
> surface seem to apply to an educational institution Theatre. I do
> believe though, that they are things to consider nonetheless.

The suggestion was for two reasons. First, to separate the two customer
lines - thus minimizing confusion/congestion. Second, minimize noise in
the box office.

I am looking at this from the point of view of a theatre with only one
performing space. That means that, once the show started, there would not
be any reason for concessions coverage until intermission. And after
taking care of late arrivals, there would not be any need for box office
coverage.

Bill




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

Message-ID: <45097A38.7060504 [at] gmail.com>
Date: Thu, 14 Sep 2006 08:50:16 -0700
From: Chip Wood <chip.a.wood [at] gmail.com>
Subject: Re: Cue Lights
References: <list-34820081 [at] prxy.net> <list-34833901 [at] prxy.net>
In-Reply-To: <list-34833901 [at] prxy.net>

Paul Guncheon wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> <<> The cue light doesn't need to be bright, but it does need to be big.>>
> 
> <<Why? We have used 1/2" cue lights for 40 years, with no problems. I should
> advocate going to 1/8" LEDs, myself>>
> 
> Okay, okay, let's stop this right here.  The lights need to be big.
> 
> Big enough to be seen.
> 
> As for color blindness, solve that problem when you get to it. In over 30
> years in the business, I don't know that I've ever worked with a color blind
> stagehand. At least I have never worked with a stagehand who's color
> blindness was an issue.
> 
> Laters,
> 
> Paul
> 
>     "Orgasms are overrated", said Tom anticlimactically.
> 
> 
> 
Like people with other slight handicaps we tend to hide it and 
compensate somehow.  I have survived for almost 66 years and I tought tha

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

In-Reply-To: <list-34831393 [at] prxy.net>
References: <list-34831393 [at] prxy.net>
Message-Id: <6AD5A116-E4E8-4B4B-856E-60E2C0D0B7A8 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: The results are in...(long post)
Date: Thu, 14 Sep 2006 12:02:30 -0400


On 14 Sep 2006, at 09:24, Peter Scheu wrote:

> I also agree that 70' battens are way too long for a 40' opening. I  
> always
> assume 8-'10' offstage of the opening, depending upon sightlines  
> and how
> legs will mask (without tabs).

	Oh wouldn't that be nice! Unfortunately My pipes are all exactly the  
same length as my Prosc. opening! I have to cut in to the playing  
area quite a bit with the legs, and add pipe extensions at the ends.  
I can't use more than a 3' extension though, or it will bind with the  
loading bridge. My wings are only 8' (SR) and 6' (SL), and that's  
right up to the fly rail.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

In-Reply-To: <list-34809151 [at] prxy.net>
Subject: Re: How big should the new theatre be?
Message-ID: <OFA44F41E9.C5F6BB08-ON852571E9.0057FE3F-852571E9.00585047 [at] uncg.edu>
From: Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
Date: Thu, 14 Sep 2006 12:04:37 -0400

Curtis,

Being some what familiar with your space there, I would add up the square 
footage of the current shop, University Theatre's stage space and the 
square footage of the lower shop/paint kitchen and make that the minimum 
square footage for a new shop space.  Since UT's stage functions as a 
construction area, including it will give a fairly reasonable estimate on 
the space required.  Also, I would mention a mid-rail on a fly system in a 
new space as you can never go wrong with a mid-rail (I'd say go for rope 
locks on the mid rail as well, if specing a single purchase system)

Say hi to Daddy John and Grandpa Kip

Chip Haas
Technical Director
Department of Theatre
The University of North Carolina at Greensboro

336-334-3891

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

Message-ID: <2039.205.215.255.194.1158250461.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34835098 [at] prxy.net>
References: <list-34831393 [at] prxy.net> <list-34835098 [at] prxy.net>
Date: Thu, 14 Sep 2006 09:14:21 -0700 (PDT)
Subject: Re: The results are in...(long post)
From: "Bill Nelson" <billn [at] peak.org>

> 	Oh wouldn't that be nice! Unfortunately My pipes are all exactly the
> same length as my Prosc. opening! I have to cut in to the playing
> area quite a bit with the legs, and add pipe extensions at the ends.
> I can't use more than a 3' extension though, or it will bind with the
> loading bridge. My wings are only 8' (SR) and 6' (SL), and that's
> right up to the fly rail.

Talk about a luxurious space. One venue where I design has NO wings, nor
are there any SL openings. Further, the overhead is at something like 18
feet and all pipes (except a couple of borders) are fixed and only a few
inches below the ceiling. There are several door sized openings SR, so
small set pieces can be rolled/carried on/off stage during scene changes.
Not too many, as the ajoining room is the Green Room.

Bill


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

Message-ID: <45098019.9020807 [at] gmail.com>
Date: Thu, 14 Sep 2006 09:15:21 -0700
From: Chip Wood <chip.a.wood [at] gmail.com>
Subject: Re: Cue Lights
References: <list-34820081 [at] prxy.net> <list-34833901 [at] prxy.net>
In-Reply-To: <list-34833901 [at] prxy.net>

Paul Guncheon wrote:

> As for color blindness, solve that problem when you get to it. In over 30
> years in the business, I don't know that I've ever worked with a color blind
> stagehand. 
> 
Damn, hit the send button too early again- need to get used to this new 
laptop keyboard.  Sorry.

Like people with other slight handicaps, we colorblind tend to hide it 
and work around the problem.  I doubt that 10% of the people I worked 
with backstage know it.  I even made it through Army Electronics Schools 
and was an E.E. major and worked in electronics most of my life and 
never blew anybody up.  If I couldn't read the resistor color code, I 
used an ohm meter.

It's just that with the advent of Powerpoint, projectors, LEDs, etc, 
some people think that by coloring things Red is a great way to signal 
importance, we don't.

Chip


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

Message-ID: <2047.205.215.255.194.1158250784.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34832927 [at] prxy.net>
References: <list-34813172 [at] prxy.net> <list-34815913 [at] prxy.net>
    <list-34822528 [at] prxy.net> <list-34832927 [at] prxy.net>
Date: Thu, 14 Sep 2006 09:19:44 -0700 (PDT)
Subject: Re: Recognition and thanks,  was Re: Payment Rates
From: "Bill Nelson" <billn [at] peak.org>

> They are the people who, after eliminating all the middle-persons, pay
> me, in wage and job satisfaction, and 99.991% will never know who I am.
> Doesn't matter.

I feel the same way, when I have paying gigs. But most of my work is in
Community Theatre. There is no "job" and pay is non-existant - totally
volunteer.

Bill


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

Message-ID: <000601c6d81a$0b16f100$0300a8c0 [at] carl>
Reply-To: "Carleton Underwood" <cunderwo [at] columbus.rr.com>
From: "Carleton Underwood" <cunderwo [at] columbus.rr.com>
References: <list-34637329 [at] prxy.net>
Subject: Re: ADA and box office question
Date: Thu, 14 Sep 2006 12:22:58 -0400

Jon,

We're a small house - 92 seats but we have the front 14 seats for
wheelchairs and we handle it in our box office system as showing reserved
on-line and sellable off-line - meaning our Box Office staff can sell them
to regular patrons as well as others needing a chair or walker
accomodations. Most of the time, people tell us ahead of time if they need
these accomodations - but sometimes not - and then we play musical chairs.

Carl Underwood
www.zct.org


----- Original Message ----- 
From: "Jon Ares" <jonares [at] hevanet.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Saturday, September 09, 2006 1:14 PM
Subject: ADA and box office question


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Speaking of accomodation...
>
> As is currently the law of the land, our new theatre (and our old one as
> well) has wheelchair and handicap-accessible seating distributed
throughout
> the house.  There are some 'stalls' where a chair can wheel right up (and
> room to add a chair for a companion), but also many pairs of removable
> seats.  There are also many aisle seats that have the arm that can lift up
> as well.  Almost the entire front row is the removable pair type - with
only
> about 3 stationary chairs (for companions) - prime real estate for the
> theatre.
>
> My question is this: how do other FOH staff (particularly box office)
> utilize these, with reserve seating?  These removable (and arm-lifting)
> seats are prized, sellable seats, but you also need to have them available
> for patrons that require them.  Do you not sell them, then do
> reservation/seat switching at the time of performance, or...?  (Does that
> make sense?)  Even though we've always had a recording on the BO phone,
and
> a message on the online ticket ordering that says something to the effect
of
> "If you have special seating requirements or preferences, please let us
> know, and we can easily accomodate you" (can't remember the exact
wording) -
> rarely does anyone tell us one or more members of their party will be
> needing wheelchair seating.  (About the only seating request we get is
that
> they get a 'good' seat.  Well... duh....)
>
> We hopefully will be switching very soon to an online service that allows
> the patron to choose the seats of choice... adding to the challenge of how
> to deal with this....
>
>      - Jon Ares
> www.hevanet.com/acreative
>



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

Message-ID: <2056.205.215.255.194.1158251298.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34832733 [at] prxy.net>
References: <list-34830237 [at] prxy.net> <list-34832733 [at] prxy.net>
Date: Thu, 14 Sep 2006 09:28:18 -0700 (PDT)
Subject: Re: The results are in...(long post)
From: "Bill Nelson" <billn [at] peak.org>

> The question now remains.... How much planning should we do before we know
> if there is any possible chance of this making to reality?

The first thing that must occur is the school to decide they are going to
build a new facility. To do that, you need the square footage. You may, or
may not, need some sort of estimate of the cost range for fitting out the
structure.

As someone else suggested, it might be wise to obtain the services of some
professionals. If nothing else, management is more likely to accept their
word over how much space is needed than that of your school staff.

Bill


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Theater Planning (was RE: The results are in...(long post))
Date: Thu, 14 Sep 2006 12:45:46 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAZlcclH0mHkiNB2hdIGeMnQEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-34834592 [at] prxy.net>

>be careful, but stand your ground as best you can, with not only your =20
>on campus executives but
>also out of town consultants those executives may bring who are often =20
>certain that "they know what is best for you"

Yes, be careful. If a consultant is certain that "they know what is best =
for
you" without having sat down and talked with you (the end user), they =
are
doing the project a terrible disservice. They may know what new and
wonderful (or tried and true) systems meet your needs, but they better
understand what those needs are to start with (duh!).=20

Without an open and free flowing dialogue between Owner/End User and the
consultant, the project is doomed from the start. If the consultant is =
part
of the architect's design team, you MUST be able to talk with them =
directly.
Some architects and/or construction managers won't let you do this. If =
this
is the case on your project, you have to find a way to do so, even if =
you
end up being perceived as a royal PIA. Any consultant worth their salt =
wants
your input. To want otherwise is pure arrogance.

Peter Scheu
=20
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


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

In-Reply-To: <list-34834657 [at] prxy.net>
References: <list-34812536 [at] prxy.net> <list-34822034 [at] prxy.net> <list-34834203 [at] prxy.net> <list-34834657 [at] prxy.net>
Message-Id: <DDE07562-C83B-4EB4-AFF5-21DC7857C116 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: The results are in...(long post)
Date: Thu, 14 Sep 2006 12:46:21 -0400

>> 	If lineset #1 is a Grand Valance, and lineset #2 is the Grand Drape,
>> that gives 20" clearance DS of the Grand.
>
> Which is why I enquired whether the Grand would be flown out or if  
> it was
> to be a traveler.
>
	I don't see where that necisarilly makes a difference. Our Main does  
not have a traveler track - it just flies in & out, but we still have  
a Grand Valance.
  I'd be a little sceptical of the "Separate

>> I'd be a little sceptical of the "Separate the two areas" part.  
>> There are advantages to at least having Box
>> office and Concession stand at least connected. (They can be separate
>> entities, but not completely severed.)
>
>> a]	During slow times it is easier for one person two handle both
>> positions without having to run back and forth across the lobby
>>
>> b]	Having them connected with a door behind them into a secure office
>> is safer and easier when it comes to cash handling.
>>
>> 	Note that these observations come from over 20 years managing Cinema
>> complexes before getting back into "Real" Theatre, and may not on the
>> surface seem to apply to an educational institution Theatre. I do
>> believe though, that they are things to consider nonetheless.
>
> The suggestion was for two reasons. First, to separate the two  
> customer
> lines - thus minimizing confusion/congestion. Second, minimize  
> noise in
> the box office.

	Both can be solved without completely separating them. The two can  
be at 90 degree angles from one another, and with the box office in  
an outer lobby whilst concession is in an inner lobby. Noise can be  
mitigated with a wall separating the two areas - but with a door  
between them that can be closed or left open as needed.

	Again. they can be "Separate areas" but still be "Connected". It's  
all in the design.

> I am looking at this from the point of view of a theatre with only one
> performing space. That means that, once the show started, there  
> would not
> be any reason for concessions coverage until intermission. And after
> taking care of late arrivals, there would not be any need for box  
> office
> coverage.

	I do understand where you're coming from. I like to think ahead to  
"Alternative uses". Some college Theatres are also used for movie  
showings by a campus Cinephile  society or such. Other smaller events  
might also take place that were not anticipated in the original plan.  
Flexibility is always a good thing.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <2086.205.215.255.194.1158252861.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34836863 [at] prxy.net>
References: <list-34812536 [at] prxy.net> <list-34822034 [at] prxy.net>
    <list-34834203 [at] prxy.net> <list-34834657 [at] prxy.net>
    <list-34836863 [at] prxy.net>
Date: Thu, 14 Sep 2006 09:54:21 -0700 (PDT)
Subject: Re: The results are in...(long post)
From: "Bill Nelson" <billn [at] peak.org>

>> Which is why I enquired whether the Grand would be flown out or if
>> it was to be a traveler.
>>
> 	I don't see where that necisarilly makes a difference. Our Main does
> not have a traveler track - it just flies in & out, but we still have
> a Grand Valance.

The difference is that a flown Grand does not take as much "depth" as a
traveler. That means less clearance is needed on both sides.

>> The suggestion was for two reasons. First, to separate the two customer
>> lines - thus minimizing confusion/congestion. Second, minimize noise in
>> the box office.
>
> 	Both can be solved without completely separating them. The two can
> be at 90 degree angles from one another, and with the box office in
> an outer lobby whilst concession is in an inner lobby. Noise can be
> mitigated with a wall separating the two areas - but with a door
> between them that can be closed or left open as needed.

Sure. My apologies if I implied otherwise.

Bill


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

From: MissWisc [at] aol.com
Message-ID: <3b8.8e1966b.323ae42f [at] aol.com>
Date: Thu, 14 Sep 2006 12:58:23 EDT
Subject: Re: The results are in...(long post)

billn [at] peak.org writes:
<<  Costume repair could be put in the  Green room... >>
 
I disagree. Whether you're backstage or on, theatre is  often very physically 
demanding,  thus people need a Green room  or other reserved space that is 
always available for eating/drinking and  has a refrigerator, sink, trash can 
and space to sit. (Better yet, a couch that  you can rest on.) Since eating and 
drinking should never be done  in costume (except for water), they should 
never be in the same space. 
 
It's also best if costume repair and laundry are adjacent if not in the  same 
place.
 
Kristi

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

In-Reply-To: <list-34837076 [at] prxy.net>
References: <list-34812536 [at] prxy.net> <list-34822034 [at] prxy.net> <list-34834203 [at] prxy.net> <list-34834657 [at] prxy.net> <list-34836863 [at] prxy.net> <list-34837076 [at] prxy.net>
Message-Id: <4C155C4F-F25E-4EFB-BB28-ABD26D46FE5A [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: The results are in...(long post)
Date: Thu, 14 Sep 2006 12:59:26 -0400


On 14 Sep 2006, at 12:54, Bill Nelson wrote:

> The difference is that a flown Grand does not take as much "depth"  
> as a
> traveler. That means less clearance is needed on both sides.

	Thanks - that makes sense.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <2105.205.215.255.194.1158253965.squirrel [at] webmail.peak.org>
In-Reply-To: <list-34837211 [at] prxy.net>
References: <list-34837211 [at] prxy.net>
Date: Thu, 14 Sep 2006 10:12:45 -0700 (PDT)
Subject: Re: The results are in...(long post)
From: "Bill Nelson" <billn [at] peak.org>

> I disagree. Whether you're backstage or on, theatre is  often very
> physically
> demanding,  thus people need a Green room  or other reserved space that is
> always available for eating/drinking and  has a refrigerator, sink, trash
> can and space to sit. (Better yet, a couch that  you can rest on.) Since
> eating and
> drinking should never be done  in costume (except for water), they should
> never be in the same space.

The way I use the term, such a space would not be called the Green Room.
The Green Room is where the cast can sit and relax and or concentrate
until their next stage entrance. It is not a place for chatter, eating,
unnecessary walking around etc.

> It's also best if costume repair and laundry are adjacent if not in the
> same place.

I agree that costume repair should be easily accessible. Quick hand repair
can be done in the Green Room. Machine repair needs to be done somewhere
else. I see no need for the laundry to be easily accessible to anywhere
but the costume rooms.

Bill


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: The results are in...(long post)
Date: Thu, 14 Sep 2006 13:15:21 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAA9//aBlzEYUuJBLtJpYQs3QEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-34836210 [at] prxy.net>

Bill Nelson wrote:

>As someone else suggested, it might be wise to obtain the=20
>services of some professionals. If nothing else, management is=20
>more likely to accept their word over how much space is needed=20
>than that of your school staff.

One of the things a really good theatre consultant does best is to =
advocate
for the needs of the end user. They have to be of the right temperament =
and
be a bridge builder between many unrelated disciplines.

TheatRE people are good at creating theatRE. Architects are good =
designing
buildings. Problem is, many times they don't speak the same language. I
can't count how many times I had to explain "stage right, stage left,
upstage, and downstage" to an architect or construction manager. But =
"north,
south, east, and west" they understand.

So, you say "I want the cyc upstage, but I need a crossover". To the
architect I'll say "they need the last flat white curtain hanging from =
the
stage rigging system to be located at least 3 feet off the north wall" =
(or
something like that). A moronically simple example, I grant you.

Think of a consultant like a translator. A good theater consultant helps =
you
express your ideas to others on the project team (and the installing
contractors) in way THEY understand. A foot in both worlds.

Peter Scheu
=20
Scheu Consulting Services, Inc.
Syracuse, NY
www.scheuconsulting.com


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

Message-ID: <9c931d380609141029r6a8ef210od466fce15847bcd3 [at] mail.gmail.com>
Date: Thu, 14 Sep 2006 10:29:41 -0700
From: "Scott Price" <scottprice111 [at] gmail.com>
Subject: Gearbox search

I am looking for a hollow shaft gear box with a ration of 20:1 for a
2hp motor. The frame of the motor is 145T. Where are some good places
to look?

Scott
-- 
Scott Price
Theatrical Technician

3560 6th Ave Unit 8
San Diego, CA 92103

860-670-7815

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

Subject: Catwalk/working at height safety
Date: Thu, 14 Sep 2006 13:33:49 -0400
Message-ID: <36CC4F5EE6F2C04EAA870E6CA9BA9D7129BAA2 [at] PELICAN3.spsnet.sps.edu>
From: "Bill Potter" <bpotter [at] sps.edu>

Howdy gang,

I've just (re-)joined the list and have a question regarding students
Working at height.

I'm the new TD at a boarding high school and we have two main
Performance spaces, one a traditional proscenium theater with a
counterweight system and one black box with catwalks over the
stage accessed from stairs.

Last year, a student fell while moving a speaker in a non-traditional
Performance space and broke his arm, so the school is very nervous
about letting students work above stage level.

My question is, how do other schools work with safely allowing students
to work on catwalks/ladders/loading galleries, etc. Fall arrest
harnesses? Common sense?

I hope this hasn't been beaten to death on the list. I tried to search
The  archives, But couldn't get the search features to work properly.

TIA,

Bill Potter
TD, St. Paul's School
Concord, NH

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

Reply-To: <cad [at] landrudesign.com>
From: "C. Andrew Dunning" <cad [at] landrudesign.com>
Subject: Com Headset Socks?
Date: Thu, 14 Sep 2006 12:34:12 -0500
Organization: Landru Design
Message-ID: <E1GNv6P-0007tu-Ox [at] elasmtp-junco.atl.sa.earthlink.net>

Good afternoon!

Might one of you who deals in com equipment have fabric socks/covers for
headset ear muffs?  I have a Beyer DT109 and, though I really like the
headset, I'm growing tired of the thing sticking to my head on hot days...

Thanks!

C. Andrew Dunning
Landru Design
-
Nashville, TN
-
cad [at] landrudesign.com
landrudesign [at] earthlink.net
www.landrudesign.com



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

From: FrankWood95 [at] aol.com
Message-ID: <464.652e7a00.323aecef [at] aol.com>
Date: Thu, 14 Sep 2006 13:35:43 EDT
Subject: Re: Lighting question

In a message dated 14/09/06 02:11:11 GMT Daylight Time, chip.a.wood [at] gmail.com 
writes:

> > Not that I am aware. In the 19th century, we were prosperous cutlers in 
>  > Sheffield.
>  
>  > 
>  According to a genealogical buff cousin on my father's side, we came 
>  over on the Mayflower.  But there are no family stories or traditions 
>  that back that up.  I have no prosperous ancestors, damn.

It didn't last. During the war, some nasty person dropped a large bomb on the 
works. After that, my father sold off the debris to his partner, and stayed 
in the Army. He die not long after he was retired, and Mother and I managed on 
his pension and a few investments. But it was getting tight towards the end. 
She wound up selling the house by instalments! It was one of two in a Victorian 
block. We had two rooms at the front, and one at the back: our neighbours 
were the other way round. First to go was the spare bedroom, and then the dining 
room. Easy to do: block off two doors and cut two more. Half the garden had 
gone before that. Eventually, she sold them the rest, with the proviso that she 
should live there, rent and rates free until her death.

They were gypsies, real ones, and incredibly generous-hearted. Rather than 
horse-dealing, they dealt in second hand American cars. As such, they needed to 
retain a lot of liquid cash, and so the payment arrangements were unusual. 
They had to pay so much in a year, but when it came was a bit variable. But, when 
she died, on the day of the funeral they came to me and payed off the 
outstanding balance, in cash! That's honest dealing.

They were also looking after her in a way that I could not do, being some way 
off. They would send lunch in for her on Sundays, and always checked to see 
that her bedroom curtains had been opened in the morning. When they were not 
one day, they sent for the police, and went up a ladder to the bedroom window to 
find her dead in her bed. Neighbours like that, we all should have.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <391.a79adb8.323aeec3 [at] aol.com>
Date: Thu, 14 Sep 2006 13:43:31 EDT
Subject: Re: The results are in...(long post)

In a message dated 14/09/06 02:18:21 GMT Daylight Time, 
Philip.Johnson [at] tamucc.edu writes:

> Now what you have to do is convince the architects, designers and
>  administrators not to over design the audience area and start hacking into
>  your tech spaces.   We have a beautiful PAC  but no back stage space.  They
>  felt since it was a concert hall they didn't need to store anything.  Dee
>  dee dee...
>  
>  I realize you came up with this list on short notice. It is an excellent
>  wish list.

It is very hard to come up with specifications in a vacuum. On the lowest 
level, you need to know how much space is available, and how much money. Only 
then can you even start to be realistic.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <bf1.3231c41.323af138 [at] aol.com>
Date: Thu, 14 Sep 2006 13:54:00 EDT
Subject: Re: Cue Lights

In a message dated 14/09/06 03:18:52 GMT Daylight Time, 
stagecraft [at] jeffsalzberg.com writes:

> > Why? We have used 1/2" cue lights for 40 years
>  
>  Surprising as this may be, Frank, there are theatres in the world with
>  different needs than yours.
>  
>  In many cases, a cue light may need to be seen by a fly operator or actor
>  standing many feet away.

Well, perhaps equally surprising, providing that there is nobody standing in 
the way, a small light source is perfectly visible from quite long range, 
particularly if you know where to look.

Frank Wood

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

In-Reply-To: <list-34838185 [at] prxy.net>
References: <list-34838185 [at] prxy.net>
Message-Id: <4E3D9E02-8536-4C95-8358-C6D6548B50A2 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Catwalk/working at height safety
Date: Thu, 14 Sep 2006 14:03:54 -0400


On 14 Sep 2006, at 13:33, Bill Potter wrote:

> My question is, how do other schools work with safely allowing  
> students
> to work on catwalks/ladders/loading galleries, etc. Fall arrest
> harnesses? Common sense?

	I don't work in a school, but yes if they are over (I believe) 6'  
high they should be in a fall restraint harness. I don't think it's  
necessary on a catwalk or loading gallery with a railing, but if  
there's a ladder to reach it you'll need one there.

	(My 65' ladder to the loading gallery and grid FINALLY has a fall  
restraint system for the first time in the Theatre's 111 year history  
- Thanks Unkle Bill!)

> I tried to search
> The  archives, But couldn't get the search features to work properly.

	Welcome back! I hear that a lot. ;-)

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

From: FrankWood95 [at] aol.com
Message-ID: <363.e3aa345.323af606 [at] aol.com>
Date: Thu, 14 Sep 2006 14:14:30 EDT
Subject: Re: Cue Lights

In a message dated 14/09/06 10:00:42 GMT Daylight Time, billn [at] peak.org writes:

> If you start using bi-color LEDs, then you may need to change that practice.
>  For example, a red and green bi-color. To use your system, you would flick
>  a switch to turn on the red ready light. To get the green go light you
>  would have to turn off the red and turn on the green - two switch
>  operations (unless using a ganged rotary switch.
>  
>  Even better is the crew knowing approximately when their cue or cues will
>  occur. The light illuminating is the go signal. I always require my crews
>  to be ready at all times, in case the unexpected happens - such as the
>  cast skipping 5 pages of their lines. Yes, I have my light/sound board
>  operators follow the script, even if the SM is calling cues. Contrary to
>  popular belief, SMs do occasionally make mistakes.

First, I never suggested bi-colour LEDs. Separate red and green is best. I 
have no objection to the red staying on, provided that it is cleared immediately 
after the cue.

I agree that it is best that the crew and operators follow the script, and 
the detailed instructions I have written. These include a rough description of 
what should happen, and all the numbers on the display. I started doing this 
because of a supremely daft board. It would allow you to to do cues by hand, or 
on a timer. Not both at once! This created a high disaster potential. since 
some of the states were blackouts, to suit the zany system.


Frank Wood

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

Subject: RE: Catwalk/working at height safety
Date: Thu, 14 Sep 2006 14:25:25 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0636C9F8 [at] exchange.rmwc.edu>
In-Reply-To: <list-34839262 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> > My question is, how do other schools work with safely allowing=20
> > students to work on catwalks/ladders/loading galleries, etc. Fall=20
> > arrest harnesses? Common sense?
>=20
> 	I don't work in a school, but yes if they are over (I=20
> believe) 6' =20
> high they should be in a fall restraint harness. I don't=20
> think it's necessary on a catwalk or loading gallery with a=20
> railing, but if there's a ladder to reach it you'll need one there.

Strictly speaking, if the catwalks have railings that meet OSHA
standards (top rail between 36-42", bottom rail between 19-21" IIRC,
with the requisite strength to withstand horizontal loads), then
additional fall arrest is not required.

If the student was injured because he fell while climbing the catwalks
outside the railings, then that's the responsibility of whomever
directed him to move the speaker cab outside that safe zone, and to do
so without being harnessed/lanyarded to the structural steel.

Standard caveats apply, as I'm somewhat preoccupied these days with
events in these parts...

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

Message-ID: <Kk4HbMKDWZCFFwsC [at] ntlworld.com>
Date: Thu, 14 Sep 2006 18:46:43 +0100
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: disabled
References: <list-34724131 [at] prxy.net> <list-34727616 [at] prxy.net>
In-Reply-To: <list-34727616 [at] prxy.net>

In message <list-34727616 [at] prxy.net>, Nigel Worsley <nigle [at] dsl.pipex.com> 
writes
>Those got thrown out a while back. The current procedure is to call the fire brigade
>and let them remove the disabled people if necessary.

"OK darling you just sit there in your wheelchair and watch the flames. 
The fire brigade are on their way to lift you out....  See ya later if 
ya make it."

-- 
Clive Mitchell
http://www.bigclive.com

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

From: <macarrillo [at] uisd.net>
Subject: Re: Catwalk/working at height safety
Message-Id: <20060914134621.CFO39098 [at] mail.uisd.net>
Date: Thu, 14 Sep 2006 13:46:21 -0500 (CDT)

I am surprised Doom hasn't touched this one....

I work for a school district, and let me tell you, I know how the "Chiefs" get when they see me stradling the A-Frame Ladder...I can just imagine if they saw a high school kid do it, how many heart attacks would occur...

We don't have any saftey harness system up at the loading gallery, or the catwalks. Mostly because I am the only one allowed up there doing all of the work... (Except for counter-balancing). I will however take the kids on a tour, of the whole facility, so they can see what I do on a day to day basis. I don't think any of that equipment is necessary though. It might do more harm than good...

My .02 which is worth more in pesos... : O

-Michael

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

Message-ID: <iUzNneFsKaCFFwaV [at] ntlworld.com>
Date: Thu, 14 Sep 2006 19:42:52 +0100
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Boot guard
References: <list-34714220 [at] prxy.net>
In-Reply-To: <list-34714220 [at] prxy.net>

In message <list-34714220 [at] prxy.net>, BKHAIN [at] aol.com writes
>I bought some of this stuff for my theater work boots so I wouldn't 
>wear out the toes.
>
>www.kgsbootguard.com
>
>Seems like a good idea so I thought I'd share it with the list. Anyone 
>used it before? It's kinda like the 'rhino lining' for pick up truck 
>boxes...the only thing I wonder is if it will scrape paint off a 
>finished set?

Yeah, but scuffed steelies are an important look for the discerning 
tradesman.  :)

-- 
Clive Mitchell
http://www.bigclive.com

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

Message-ID: <JnB3LOKnVaCFFw9P [at] ntlworld.com>
Date: Thu, 14 Sep 2006 19:54:31 +0100
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Catwalk/working at height safety
References: <list-34838185 [at] prxy.net> <list-34839262 [at] prxy.net>
In-Reply-To: <list-34839262 [at] prxy.net>

In message <list-34839262 [at] prxy.net>, Bruce Purdy 
<bpurdy [at] rochester.rr.com> writes
>       (My 65' ladder to the loading gallery and grid FINALLY has a 
>fall restraint system for the first time in the Theatre's 111 year 
>history  - Thanks Unkle Bill!)

And if you felt insecure without the fall arrest system, then consider 
the power linemen who regularly climb wooden poles up to 200' 
(transmission over valleys) with nothing more than two scarily small 
metal spikes hooked under their boots, and a leather belt that goes 
round the pole and attaches to their waist belt (except when they have 
to take it off and pass it over obstacles)  Often they climb quite 
considerable heights hand over hand without using their positioning belt 
until they get to the top.

Then they work on stupendously high voltage lines LIVE with nothing 
between them and explosive death except for a pair of heavy rubber 
gloves.

Quite a lot die.

Just in case any of you guys thought you were being tough walking on 
grids.  ;)

-- 
Clive Mitchell
http://www.bigclive.com

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

End of Stagecraft Digest #950
*****************************