Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41511158; Mon, 22 Jan 2007 03:02:00 -0800 X-List-Processed: mail.prxy.net X-ListMember: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41510647; Mon, 22 Jan 2007 03:01:33 -0800 X-Spam-Status: No, score=-0.7 required=5.0 tests=ADVANCE_FEE_1,ADVANCE_FEE_2, AWL,NO_RECEIVED,NO_RELAYS,SUBJ_HAS_UNIQ_ID autolearn=no version=3.1.7 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.1.7 (2006-10-05) on localhost X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: List-Archive: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #1101 Date: Mon, 22 Jan 2007 03:00:57 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #1101 1. Re: Hey by Clive Mitchell 2. Re: Audience Seating by Al Fitch 3. Re: Hey by Herrick Goldman 4. Re: Texas Tech Fire by Rick Malone 5. Re: Hey by Simon 6. Re: Now *here's* the bike for the next LRLR by Rigger 7. Re: Real bullet! by Jerry Durand 8. Re: Hey by Greg Williams 9. Re: Audience Seating by Stephen Rees 10. Stagecraft Wiki by "William Knapp" 11. Re: Real bullet! by 12. Re: Audience Seating by "Jon Ares" 13. Re: Theatre and PAC Architects by 14. Re: Real bullet! by Josh Ratty 15. Re: Audience Seating by Josh Ratty 16. OT: Cafepress by joreth [at] techie.com 17. Re: digi. projector by Mick Alderson 18. Re: Audience Seating by Stephen Litterst 19. Theatre and PAC Architects by "Bill Conner" 20. Re: Theatre and PAC Architects by "Ehrenberg, Steven" 21. Frankly speaking by "Ehrenberg, Steven" 22. Re: Hey by Clive Mitchell 23. Re: Theatre and PAC Architects by "RD" 24. Re: Theatre and PAC Architects by "Bill Conner" 25. Re: Audience Seating by Rigger 26. Re: Real bullet! by 27. Re: Audience Seating by 28. Now *here's* the bike for the next LRLR by CB 29. Re: Now *here's* the bike for the next LRLR by CB 30. New Member by "Jason M. Flamos" 31. Re: Theatre and PAC Architects by "Tim Catlett" 32. Re: New Member by Stuart Wheaton 33. Re: New Member by "Kathryn Sirico" 34. The Joy of Sets. by Dale Farmer 35. Re: Theatre and PAC Architects by "ladesigners [at] juno.com" 36. Surtitles and PPT, was digi projector by Villem Teder 37. Re: The Joy of Sets. by Andrew Vance 38. Re: The Joy of Sets. by Herrick Goldman 39. Re: Real bullet! by Bruce Purdy *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <7znnw7AD61sFFwbq [at] ntlworld.com> Date: Sun, 21 Jan 2007 12:37:23 +0000 From: Clive Mitchell Subject: Re: Hey References:

In-Reply-To: In message , Occy writes >Hey if I ever find another woman that I can stand again, I will be >married again. But it looks like my chances have increased a bit. Nah, stay single. You know what they say.... Pay for sex, it's cheaper in the long run. -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: <20070121140538.60602.qmail [at] web84008.mail.mud.yahoo.com> Date: Sun, 21 Jan 2007 06:05:38 -0800 (PST) From: Al Fitch Subject: Re: Audience Seating In-Reply-To: > > > > Does anyone now if there is any type of seating > that can be locked down > > in some way, but also removable? > > > > We have folding chairs that latch together at two points along the leg. They are compfortable (cushioned) and easliy removed. My question is why they have to be joined together? Is it to prevent a bunch of chairs from falling over in an emergency preventing safe exit? Be Kind, Smile and Have Fun. ------------------------------ Date: Sun, 21 Jan 2007 09:46:58 -0500 Subject: Re: Hey From: Herrick Goldman Message-ID: In-Reply-To: <23338720.1169364918407.JavaMail.root [at] m41> And after 5 shots it doesn't matter because they can't finish what they start. See y'all tomorrow night. On 1/21/07 2:34 AM, "Rob Riddle" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > After four shots of tequila only 22% of married men are. > > Rob't > :-) > > > ----- Original Message ----- > From: "Don Taco" > >>> From: "Occy" >>> No wonder the news said 51% of the women are not married these > days... > >> I don't remember when I've seen such an ugly example of baiting. >> What percentage of men are not married? >> >> You owe all women an apology. > > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Date: Sun, 21 Jan 2007 07:06:37 -0800 (PST) From: Rick Malone Subject: Re: Texas Tech Fire Message-ID: <800211.44245.qm [at] web80503.mail.mud.yahoo.com> According to the posting by a professor in the department in our theatre alumni email newsletter, the fire appears to be from a short circuit in "old" wiring in the building. I helped break ground for the building back in '63 and it was finished sometime in '65-6, so the building is, oh-my-gawd, about 40 years old. Don't know about any interim renovations etc. The sprinkler system did it's job but not before extensive smoke and water damage. It'll be some time before the building can be used. Rick Malone Texas Tech, '63, '72 ------------------------------ Message-ID: <45B38375.2020306 [at] ef-ae.com> Date: Sun, 21 Jan 2007 19:15:01 +0400 From: Simon Subject: Re: Hey References:

In-Reply-To: You pay for it anyway in the long run Clive Mitchell wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In message , Occy writes >> Hey if I ever find another woman that I can stand again, I will be >> married again. But it looks like my chances have increased a bit. > > Nah, stay single. You know what they say.... > > Pay for sex, it's cheaper in the long run. > ------------------------------ Message-Id: In-Reply-To: References: Date: Sun, 21 Jan 2007 11:27:22 -0500 From: Rigger Subject: Re: Now *here's* the bike for the next LRLR At 11:16 PM -0500 1/20/07, Paul Schreiner wrote: >Granted, it's a little pricey, but... Naaa. Get the new Ducati 1098-S instead. It actually has a dealer network. (or get the 1098 in the limited-edition "Tricolore" livery if you really have a desire to spend twenty-five large on a fifteen-large bike) -- Dave Vick rigger [at] tds.net What exactly is "viewer discretion"? If viewers had any discretion, most TV shows wouldn't be on the air. ------------------------------ Date: Sun, 21 Jan 2007 08:39:06 -0800 From: Jerry Durand Subject: Re: Real bullet! In-reply-to: Message-id: <7.0.1.0.0.20070121083722.01f248c0 [at] interstellar.com> References: At 02:40 PM 1/19/2007, Clive Mitchell wrote: >Quoted from a posting by John Kennedy on the RATS group:- [snipped] >Oh. My. God. Good thing they were guns and not firecrackers, otherwise people would have gone to jail! I think as it is there was a staggering $1250 fine, if I remember right. -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Date: Sun, 21 Jan 2007 12:15:37 -0500 From: Greg Williams Subject: Re: Hey In-reply-to: Message-id: References:

On Jan 21, 2007, at 2:08 AM, Don Taco wrote: > From: "Occy" >> No wonder the news said 51% of the women are not married these >> days... > > I don't remember when I've seen such an ugly example of baiting. > What percentage of men are not married? > > You owe all women an apology. Don, He's right about the news reports, but according to some analysts, the "study" included "women" aged 15-17, as well as older widows, of which there is a greater number than older widowers. So the real story might have been "women still outliving their husbands, and 15-17 year olds still not marrying"... That, however, might not have fit the agenda of whoever came up with the study. -=Greg Williams=- Production Manager Valborg Theatre, Appalachian State University www.LRLR.org - 2007 Ride - NY, Ottawa, Vermont, New Hampshire, Maine - c'mon and ride with us! ------------------------------ Date: Sun, 21 Jan 2007 12:27:15 -0500 Subject: Re: Audience Seating From: Stephen Rees Message-ID: In-Reply-To: That is it exactly. Steve R On 1/21/07 9:05 AM, "Al Fitch" wrote: > > My question is why they have to be joined together? > Is it to prevent a bunch of chairs from falling over > in an emergency preventing safe exit? ------------------------------ From: "William Knapp" Subject: Stagecraft Wiki Date: Sun, 21 Jan 2007 12:09:42 -0500 Message-ID: <000c01c73d7e$f2f36700$0400a8c0 [at] wilbur61cb648c> In-Reply-To: Hey All, It's been a while. Been working on a Stagecraft Wiki. Not complete by any means, but would appreciate any input. http://www.stagecraft.com thx, Will ------------------------------ From: Subject: Re: Real bullet! Date: Sun, 21 Jan 2007 18:18:46 +0000 Message-Id: <20070121181846.GAUT219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: CB > Date: 2007/01/20 Sat PM 05:01:45 GMT > To: "Stagecraft" > Subject: Real bullet! > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >No safety officer. > + > >Actor-owned weapons. > + > >Fully functional weapons. > + > >Live ammunition on the same prop table with blanks. > + > >Actors with no gun permits. > > = > > Murder. That is putting it a bit strong. Manslaughter seems about right, and in the UK there is a useful charge of'Corporate manslaughter' which means that the management cannot hide behind their paid servants. BTW, I am now posting and reading at frank.wood95 [at] ntlworld.com Broadband and a wireless network have arrived. Messages to my old AOL address will still be retrieved for the forseeable future. > Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Message-ID: <003f01c73d88$a11d5850$0400000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Audience Seating Date: Sun, 21 Jan 2007 10:19:02 -0800 > My question is why they have to be joined together? > Is it to prevent a bunch of chairs from falling over > in an emergency preventing safe exit? It's so when you say to the audience, "Please take your seats," they don't. ;) FWIW, in our black box, we zip-tie together our seats. Our AHJ, several years ago, (and several AHJs ago, probably) said we didn't need to zip-tie the front rows that were on terra firma, only the ones on the risers. (He had said keeping the front row loose would allow ADA compliance, by easily removing whatever seats we needed to, for wheelchair parking.) I just do what I'm told.... - Jon Ares www.hevanet.com/acreative ------------------------------ From: Subject: Re: Re: Theatre and PAC Architects Date: Sun, 21 Jan 2007 18:49:30 +0000 Message-Id: <20070121184930.GNGZ219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Charlie Richmond > Date: 2007/01/21 Sun AM 01:29:55 GMT > To: "Stagecraft" > Subject: Re: Theatre and PAC Architects > > For info, archives & UNSUBSCRIBE, see If > > it's an architect wth another agenda or one who believes they know all and are > > above advice from the peasants (and there are many) then the consultant needs > > to be able to sound the alarm > > I absolutely agree. It's the consultant's duty of care to make sure they are > being listened to as well, I feel... So do I, in principle. But this involves the end-user having a clear brief to give to the consultant. This needs input from the real end-users, who have to make the shows work, and not just from the management, who are presumably contractually responsible for it. Cases have been posted where this has not been the case, and I could add to them. When we built our new theatre, which opened in 1964, we literally built it with our own hands. The design work was professionally done, yes. But the bricks for the rehearsal rooms were laid by our members, actors, directors and crew. The general electrical sytems, lighting system, sound system and heating were designed and installed in the same way. This attitude of mind started to vanish in the eighties, and is now mostly complete. We seem now to be a fully commercial enterprise, which is understandable, with a million pound site to manage. But I lament this. I joined in 1967, and have invested a lot of skill and sweat in the place. I always regret when painstakingly designed and installed facilities are abolished, in the names of safety and conformity. To this day, I shall not accept that the SM knows better than I do when to execute a lighting or sound cue! Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Date: Sun, 21 Jan 2007 14:17:36 -0500 From: Josh Ratty Subject: RE: Real bullet! In-reply-to: Reply-to: josh.ratty [at] verizon.net Message-id: <010f01c73d90$cf557e20$6401a8c0 [at] Rattys> -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of frank.wood95 [at] ntlworld.com Sent: Sunday, January 21, 2007 1:19 PM To: Stagecraft Subject: Re: Real bullet! For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > > From: CB > Date: 2007/01/20 Sat PM 05:01:45 GMT > To: "Stagecraft" > Subject: Real bullet! > > > Murder. That is putting it a bit strong. Manslaughter seems about right, and in the UK there is a useful charge of'Corporate manslaughter' which means that the management cannot hide behind their paid servants. Both would be a bit strong as no one died. The injured was left paralyzed but is still alive. Josh Ratty ------------------------------ Date: Sun, 21 Jan 2007 14:20:05 -0500 From: Josh Ratty Subject: RE: Audience Seating In-reply-to: Reply-to: josh.ratty [at] verizon.net Message-id: <011001c73d91$27e26850$6401a8c0 [at] Rattys> -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon Ares Sent: Sunday, January 21, 2007 1:19 PM To: Stagecraft Subject: Re: Audience Seating FWIW, in our black box, we zip-tie together our seats. Our AHJ, several years ago, (and several AHJs ago, probably) said we didn't need to zip-tie the front rows that were on terra firma, only the ones on the risers. (He had said keeping the front row loose would allow ADA compliance, by easily removing whatever seats we needed to, for wheelchair parking.) I just do what I'm told.... - Jon Ares www.hevanet.com/acreative Pardon my ignorance but what does AHJ stand for. I see the term used here often but even using it in context I can't make up anything that fits. TIA Josh Ratty ------------------------------ From: joreth [at] techie.com Date: Sun, 21 Jan 2007 14:25:14 -0500 Subject: OT: Cafepress Message-Id: <20070121192514.597CA83985 [at] ws1-2a.us4.outblaze.com> On 1/17/07, Rigger wrote: > > At 9:26 AM -0800 1/17/07, Michael Heinicke wrote: > > >I have seen several mentions of CafePress.com on the > >list over the past year or two. Can someone comment on > >the quality of their products? A similar company that > >I have heard of is SpreadShirt.com. Is anyone familiar > >with them and their quality? I use Spreadshirt and I've been quite happy with them. I do have some prod= ucts from Cafepress, so I have been able to compare and contrast. Cafepres= s is more expensive and there are less options for shirts, but more options= for non-shirt items. The reason I like Spreadshirt over Cafepress is beca= use their shirts are cheaper and they do black shirts without having to pay= for a merchant account like Cafepress. Spreadshirt uses heat transfer, no= t silk-screen, but I have had absolutely no problems with this method. One= of the concerns is that a heat transfer will start to peel after a couple = of washings, but so far I've not seen it. One of the downsides to Spreadsh= irt is that I have had some issues with design complications. In creating = a design, you can do vector graphics for heat transfer or bitmap which will= leave a bit of white-ish around the design, like a home iron-on image. If= you have a solid block of a design, this is no problem, but if you want pl= ain text over a shirt, you will see the "white" between each letter and it = can crack on the stretchier-shirts (like women's tank tops and babydoll shi= rts). With the vector graphics, each seperate design element is cut indivi= dually, so it more closely resembles a silk-screened design. Because each = design element is cut individually, they won't print anything that has an e= lement that is "too small", and you can't use overlapping colors (or color = fades, etc.) with the heat transfer. But their prices are reasonable and t= heir user interface is pretty simple. I can design a shirt, using their te= xt or graphics, from anywhere and have it up and in my shop within minutes = (longer if I upload my own graphic).=20=20 The real benefit to either Cafepress or Spreadshirt is that both do "one-of= fs". This means you don't have to carry any mercandise yourself and you ca= n let them handle all the financial transactions, including shipping and cr= edit cards, etc. You just get paid whatever markup you add to the item. H= owever, if you are handling sales transactions already, whether it be by cr= edit card or no, and you are fine with shipping stuff out yourself, and you= want to carry your own merchandise in stock somewhere, it is much cheaper = (and the quality is better) to go with a local silk-screener. You pay for = a one-time setup fee for each graphic, then you buy the shirts in bulk, and= they work out to cost much less per shirt than either Cafepress or Spreads= hirt, so you make more money per shirt sale. But, of course, you have to b= uy these shirts up front yourself, and hope you sell enough to make up the = cost, plus you have to handle all money transactions and shipping yourself. You can see some of what Spreadshirt can do at my site http://www.stagehand= tees.com and the Cafepress stuff is at http://www.theinnbetween.net/giftsho= p.html "Joreth" http://www.stagehandtees.com http://www.theinnbetween.net ------------------------------ Message-ID: <45B3BEA3.3050301 [at] uwosh.edu> Date: Sun, 21 Jan 2007 13:27:31 -0600 From: Mick Alderson Subject: Re: digi. projector CB responded to: >> >I've never known a >> >projection operator to have a problem figuring out how >> >to use Open Office Impress when I've stuck it in front >> >of them > > This is great, but remember, this is exactly what everyone (and I mean > everyone) that has a problem with their presentation says every time that > there is a problem. "It runs on (fill in the blanks) every time, it can't > be my software!" > >> >When I back up a presentation, I make sure to back up >> >the presentation, the fonts, images, etc, but the >> >truly great advantage to Open Office is that if the >> >computer I'm about to run it off of doesn't have it, >> >it's easily enough downloaded and installed, > > If you meant downloaded from the media that ytou have provided, so be it. > If you mean downloaded from the internet, good luck. Most hotels charge an > extortionist, er, exhorbitant amount for an internet connection. You'd be > surprised at who will balk at paying it. As a confirmed OpenOffice.org user, I'd suggest you save the file with a Powerpoint PPT extension instead of as an OpenOffice ODP file. Then it will run on Powerpoint as a native file. You can even then "lock" the file by changing the extension from PPT to PPS, just like Powerpoint. OR, save it in BOTH formats and give the projectionist a fighting chance at running it. For better or worse, the world runs on MS Office. I'm an Open Source fan myself (no MS Office on MY laptop!), but the middle of a presentation probably isn't the time to push that particular fight. I will say that Impress is pretty darn good, but it's transitions between slides aren't as nice as "real" Powerpoint (I do like the "Fade Smoothly" transition in Openoffice). IIRC, Powerpoint may replace Openoffice transitions with "No Transition" in playback, but the slideshow does still play. I thought this conversation started with somebody wanting to do opera supertitles, and he was concerned with transitions. There was then some questioning of whether supertitles need smooth transitions, but that WAS what he wanted. On the other hand, OpenOffice.org is free and cross-platform, so it costs nothing to experiment with it. I wouldn't expect someone to download and install Open Office just for my presentation (it's a 90 meg download), although I might hand them a CD or flash drive with the installation package already on it! ;-) But I wouldn't insist, 'cause I wouldn't let someone else load a "foreign" program onto MY computer, and my guess is the operator won't risk it! -- Mick Alderson TD, Fredric March Theatre Univ. of Wis. Oshkosh ------------------------------ Message-ID: <45B3C0AE.6040802 [at] gmail.com> Date: Sun, 21 Jan 2007 14:36:14 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Audience Seating References: In-Reply-To: Josh Ratty wrote: > Pardon my ignorance but what does AHJ stand for. I see the term used > here often but even using it in context I can't make up anything that > fits. > TIA Authority Having Jurisdiction. Every locale has a different title for the person who enforces life and building safety codes. So the codes refer to the Authority Having Jurisdiction (AHJ) as a universal term. Most often your AJH is your local fire marshal. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <00be01c73d96$697eb9d0$6a01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Theatre and PAC Architects Date: Sun, 21 Jan 2007 13:57:42 -0600 Marty posted: "then the consultant needs to be able to sound the alarm". Based on my 25+ years, doesn't bother me regardless of who writes the check. Of course now I tell the architect that I disagree and am informing the owner before I do it, but not a problem. Bill Conner ASTC, ETCP CR-T ------------------------------ Subject: RE: Theatre and PAC Architects Date: Sun, 21 Jan 2007 15:10:19 -0600 Message-ID: From: "Ehrenberg, Steven" Message-ID: <002c01c73c56$19dc4af0$e88712c6 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Portable Stages and Building Code Date: Fri, 19 Jan 2007 23:44:49 -0600 I've worked for the architect and directly for the owner. Both can work but what Steven E. says is generally true. That works especially well for Steve because he is a "good" owner. He can articulate the needs and preferences and contribute to the balance between aesthetics and function. Both are important. Sorry Steve but what wasn't said is that Steve regularly works with a very good and experienced architect and theatre consultant team. And all arrangements can go sour. Bill Conner ASTC ETCP CR-T From: MartySrq [at] aol.com Message-ID: Date: Sat, 20 Jan 2007 19:10:58 EST Subject: Re: Theatre and PAC Architects=20 re Steve Ehrenberg's response.=20 =20 Steve, that was well put and you made many ggod points but with all due repect I'm stickin' to my guns. If it's a good architect (and there are many) =20 they'll listen and respond to the consultant no matter who signs the check. If =20 it's an architect wth another agenda or one who believes they know all and are =20 above advice from the peasants (and there are many) then the consultant needs=20 to be able to sound the alarm From: MartySrq [at] aol.com Message-ID: Date: Sat, 20 Jan 2007 19:21:47 EST Subject: Re: Theatre and PAC Architects=20 Steve, =20 Sorry, the message went before I finished or ran spell check. As we know=20 many venues get built before anyone is hired or with an admin. in place before=20 Tech Staff comes on. I really believe that the checks and balances provided by=20 an independent professional may help prevent an arrogant architect from making bad decisions and will not create problems for a good architect. That it=20 is more usual for the consultant to work for the architect is true but that=20 doesn't make it the best scenario. If it were up to me I'd hire the consultant=20 first and ask who they like to work with.=20 =20 Wishing I could be there Monday and we could buy each other drinks. =20 Marty Aw shucks Bill, thanks for the good owner nod. I certainly try to be that. Yes - in situations where we can control the make up of the team, I often get to work with a great architect and an excellent consultant (if you need a recommendation I would be happy to give one off list). However I also get to do other projects where this team is not involved, and I am tossed in with other architects and consultants, or a GC who has never done a theater project; this is a more difficult situation. Any owner who does not have someone in on all of the design team meetings are like people who don't vote, you deserve what you get! Marty cites instances where there is no tech staff or admin in place, but the owner still needs to see the value of having a person involved with the team every step of the way. On some of the projects I do I am only the Broadway presenting partners rep, our partner is the owner. My first question is "what is the schedule for design meetings, and who from your side is sitting in on those meetings"; the answer is usually "Do you really think we need to do that? Isn't that why we have an Architect?" I go to the meetings anyway. I also feel that as it is the architect's job to realize the vision of the theater, on time and on budget, they are definitely the team leader and project manager, certainly through the design phase. This is why all the consultants have to work for the architect. I love Marty's idea of building the team starting with the consultant, that is great out of the box thinking, and if you have a consultant you trust, a fantastic way of building a successful team. Once this is done the architect and the owner need to be the final say in the design and build process. If you look back into my post, you will see that I believe (which I think you agree with) if any member of the team isn't listening or discussing things - from arrogant architect, through know it all theater consultants, down to mechanical consultant or acoustician who doesn't listen - you have a problem that you need to solve or manage. The voice of an independent professional is all well and good, but that puts the onus of all the choices on the owner, who if I read your post correctly, doesn't always have the expertise or involvement to judge. Get a team you trust and stay involved. Steven Steven Ehrenberg=20 Vice President of Technical Supervision=20 Live Nation / Broadway Across America=20 220 W 42nd St. 14th floor NY, NY 10036=20 Office 917 421 5461=20 Mobile 917 331 0207 ------------------------------ Subject: Frankly speaking Date: Sun, 21 Jan 2007 15:32:05 -0600 Message-ID: From: "Ehrenberg, Steven" Not to start anything up in this quiet period of grace, but...I have been very behind in my list reading, about 35 digests going back to about Thanksgiving and I do not post when I am not current. It is nice to know that nothing really changes, even when you are missing digest after digest. Ah...the eternal issue of Frank. I know it's difficult and I think I have on occasion lost it on frank myself. But CB and Dave, c'mon, play nice! Next time you're loading up your weapons around a barrel full of fish please invite me, I'd like to watch. I much preferred the WWFWD series of swag to all other responses to Frank's postings. I was glad to see someone else remembered and appreciated that fantastic piece of humor as much as I did.=20 "I respond to every post I see" Tom said Frankly "Particularly the ones I know nothing about" Tom continued Woodenly Steven Steven Ehrenberg=20 Vice President of Technical Supervision=20 Live Nation / Broadway Across America=20 220 W 42nd St. 14th floor NY, NY 10036=20 Office 917 421 5461=20 Mobile 917 331 0207=20 ------------------------------ Message-ID: <3Ku0uBEk49sFFwZO [at] ntlworld.com> Date: Sun, 21 Jan 2007 21:41:56 +0000 From: Clive Mitchell Subject: Re: Hey References:

In-Reply-To: In message , Simon writes >You pay for it anyway in the long run Not if you do it by hand. -- Clive Mitchell http://www.bigclive.com ------------------------------ Reply-To: From: "RD" Cc: bill [at] bcaworld.com ('Bill Conner') References: Subject: RE: Theatre and PAC Architects Date: Sun, 21 Jan 2007 14:55:45 -0700 Message-ID: <004b01c73da6$e8700770$6501a8c0 [at] doom1> In-reply-to: Have we all not been on many jobs that might give us "pause to speak out?" Most certainly. And, as all of you might believe, I have raised the decibel level all of the time. It is my belief that it is a matter of honesty and most often in my work, integrity If the job were with Bill, there would not be much room, in any, to disagree. Candor and knowledge do it for me. Dr. doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Conner Sent: Sunday, January 21, 2007 12:58 PM To: Stagecraft Subject: Theatre and PAC Architects For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Marty posted: "then the consultant needs to be able to sound the alarm". Based on my 25+ years, doesn't bother me regardless of who writes the check. Of course now I tell the architect that I disagree and am informing the owner before I do it, but not a problem. Bill Conner ASTC, ETCP CR-T ------------------------------ Message-ID: <00e401c73da9$02f4bf30$6a01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Cc: doomster [at] worldnet.att.net References: <004b01c73da6$e8700770$6501a8c0 [at] doom1> Subject: Re: Theatre and PAC Architects Date: Sun, 21 Jan 2007 16:10:50 -0600 On the issue of speaking out regardless of who writes the check - architect or owner, it should go without saying that my first response to some bone headed idea that thwarts good theatre function is to make a case plain and simple to the architect. Most will listen and in the case of my long time architect clients it's a non issue. I tell them it won't work and once in a while continue on to why. That doesn't mean that I can tell them to cheapen the lobby because the lighting system is too small and they jump up with a knife and cut the finishes to teh bone, but those things are discussed and where disagreement, presented to the Owner. There are instances where I've made a case for this or that (seems like access, circulation, and stage heigth are common issues) and the Owner acknowledges the issue and chooses the non-recommended option. It's there right and responsibility. Interestingly, usually the architect is my ally in these cases. So maybe the issue is how does a user grow creditbility so that they are included in these discussions? (I'll suggest starting at the first meeting with the attitude that the building should be low quality finishes so the theatre systems are the best possible is not the best plan. Somehow those folk seem to never get asked to a second meeting.) Bill Conner ASTC, ETCP CR-T ------------------------------ Message-Id: In-Reply-To: References: Date: Sun, 21 Jan 2007 17:28:24 -0500 From: Rigger Subject: Re: Audience Seating At 2:20 PM -0500 1/21/07, Josh Ratty wrote: >Pardon my ignorance but what does AHJ stand for. "Authority Having Jurisdiction." -- Dave Vick rigger [at] tds.net 20/20 Design "There comes a time when one should quit drinking and gracefully pass out." --Jack Tollett ------------------------------ From: Subject: Re: Re: Real bullet! Date: Sun, 21 Jan 2007 22:58:55 +0000 Message-Id: <20070121225855.KSCQ29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Josh Ratty > Date: 2007/01/21 Sun PM 07:17:36 GMT > To: "Stagecraft" > Subject: Re: Real bullet! > > For info, archives & UNSUBSCRIBE, see > > Murder. > > That is putting it a bit strong. Manslaughter seems about right, and in > the UK there is a useful charge of'Corporate manslaughter' which means > that the management cannot hide behind their paid servants. > > Both would be a bit strong as no one died. The injured was left > paralyzed but is still alive. I suppose so. 'Grievous bodily harm' is the benst I know in the UK. Sadly, I don't know of an offence of 'criminal stupidity' in either country. And I don't see the victim as entirely blameless, either. I know that if someone were to need to discharge a firearm towards me, I should want to know what its load was, very surely. At least one illusionist, Tung Ling Soo as I recall his name, was shot on stage in a bullet-catching illusion which went wrong. > > Josh Ratty > > Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ From: Subject: Re: Re: Audience Seating Date: Sun, 21 Jan 2007 23:08:58 +0000 Message-Id: <20070121230858.RAX26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Josh Ratty > Date: 2007/01/21 Sun PM 07:20:05 GMT > To: "Stagecraft" > Subject: Re: Audience Seating > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > Subject: Re: Audience Seating > > > FWIW, in our black box, we zip-tie together our seats. Our AHJ, several > > years ago, (and several AHJs ago, probably) said we didn't need to > zip-tie > the front rows that were on terra firma, only the ones on the risers. > (He > had said keeping the front row loose would allow ADA compliance, by > easily > removing whatever seats we needed to, for wheelchair parking.) > > I just do what I'm told.... I think your AHJ is in error. > > - Jon Ares > www.hevanet.com/acreative > > > Pardon my ignorance but what does AHJ stand for. I see the term used > here often but even using it in context I can't make up anything that > fits. > TIA Authority Having Jurisdiction. It may well be your fire marshal, or anyone else with an external authority to require to do something. People who can close down your show if you do not meet their requirements. Do not upset them: their authority is absolute. Few are unreasonable.But never blow your stack at them. > > Josh Ratty > > Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Message-Id: <3.0.6.32.20070121161256.00c8e110 [at] pop.west.cox.net> Date: Sun, 21 Jan 2007 16:12:56 From: CB Subject: Now *here's* the bike for the next LRLR Ehm, no luggage, and, "It doesn�t matter if the ignition keys are never turned in the lock, if the bike rests on a stand in someone�s home or if it only does the occasional mile or two to �give it a run�"?!? Not any 'real' bike enthusiast's attitude. Nice work of art, great way to part the rich, 'all jacket & no bike' sidewalk commando from his cash, but anyone who buys a bike not to ride it better be buying a piece of history for the memories of being upright on two wheels, precariously balanced on the back of the great sausage monster. NOT LBLR material... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Message-Id: <3.0.6.32.20070121161440.00c8e110 [at] pop.west.cox.net> Date: Sun, 21 Jan 2007 16:14:40 From: CB Subject: Re: Now *here's* the bike for the next LRLR >Other end of the spectrum: take a look at this one: S'waht happens when biker carps have too much spare time. THAT'S LBLR worthy! Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ From: "Jason M. Flamos" Message-ID: Date: Sun, 21 Jan 2007 19:26:33 -0500 Subject: New Member Hello everyone on the Stagecraft Mailing List, i am a new member and just figured i would introduce myself. My name is Jason, i am currently a freshman Production/Design major at Montclair State University, I am concentrating in lighting and sound. Upon graduating i would like to start up my own lighting in sound company, perhaps with a few people i go to school with now. ~Jason ------------------------------ Message-ID: Date: Sun, 21 Jan 2007 18:58:41 -0600 From: "Tim Catlett" Subject: Re: Theatre and PAC Architects In-Reply-To: References: <004b01c73da6$e8700770$6501a8c0 [at] doom1> I'm not sure if my previous statements are the subject of some of this or not but I sure feel like it. I feel compelled to respond in a more complete manner but I fear that my anger at the debacle created in my theatre's renovation/restoration would come out misunderstood. Suffice it to say that I don't think that quality should be sacrificed in one area for the sake of another. However, it is very difficult to light a stage from the reflection off of your beautiful and shiny $3K brass water fountain in the lobby when the lighting system fails. That being said, I think that I'll shut up about architects, GCs, and consultants for a while. -- Tim Catlett Asst. Technical Director - Shorewood High School Drama Technical Director - Milwaukee Shakespeare Director of Outreach/Membership - ISETSA (International Secondary Education Theatre Health & Safety Association) Cell: 414.975.4424 EMAIL: catlett.lizardsdream [at] gmail.com On 1/21/07, Bill Conner wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > That doesn't mean that I can tell them to cheapen the lobby because the > lighting system is too small and they jump up with a knife and cut the > finishes to teh bone, but those things are discussed and where disagreement, > presented to the Owner. > > There are instances where I've made a case for this or that (seems like > access, circulation, and stage heigth are common issues) and the Owner > acknowledges the issue and chooses the non-recommended option. It's there > right and responsibility. Interestingly, usually the architect is my ally > in these cases. So maybe the issue is how does a user grow creditbility so > that they are included in these discussions? (I'll suggest starting at the > first meeting with the attitude that the building should be low quality > finishes so the theatre systems are the best possible is not the best plan. > Somehow those folk seem to never get asked to a second meeting.) > > Bill Conner ASTC, ETCP CR-T ------------------------------ Message-ID: <45B40F7D.2020006 [at] fuse.net> Date: Sun, 21 Jan 2007 20:12:29 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: New Member References: In-Reply-To: Jason M. Flamos wrote: > Hello everyone on the Stagecraft Mailing List, i am a new member and > just figured i would introduce myself. My name is Jason, i am > currently a freshman Production/Design major at Montclair State > University, I am concentrating in lighting and sound. Upon graduating > i would like to start up my own lighting in sound company, perhaps > with a few people i go to school with now. Welcome to the Nut House Jason! Pull up a chair, the first (root)Beer is on me. If we give you great advise for the next 4 years do we get a discount when you start your company? Welcome! Stuart ------------------------------ Message-ID: Date: Sun, 21 Jan 2007 19:59:42 -0500 From: "Kathryn Sirico" Subject: Re: New Member In-Reply-To: References: Hey! I'm new as well. I'm a senior tech/international studies major at Nazareth College of Rochester. Did you hear about this at KC/ACTF last week? --Kat ------------------------------ Message-ID: <45B41035.4020503 [at] cybercom.net> Date: Sun, 21 Jan 2007 20:15:33 -0500 From: Dale Farmer Subject: The Joy of Sets. From another mailing list I'm on. --Dale The front page of today's Boston Globe's Art's section has an article about a set designer. (the print version of the article has photos and a couple of sketches of his sets). ---Ben http://www.boston.com/ae/theater_arts/articles/2007/01/21/the_joy_of_sets/ The Joy of Sets Scenic designer Eugene Lee, a three-time Tony winner who has been with 'Saturday Night Live' since 1975, conjures new ideas with old-school methods By Catherine Foster, Globe Staff | January 21, 2007 PROVIDENCE -- The cannons are as small as pencils, the sails the size of cocktail napkins. A host of tiny pirates are attached to the ship by pins. Eugene Lee picks up one of them to demonstrate how, once the set for the new multimillion - dollar musical "The Pirate Queen" comes to life, actors will brandish their swords to fight on the deck of a galleon. [...] ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 22 Jan 2007 01:52:05 GMT Subject: Re: Theatre and PAC Architects Message-Id: <20070121.175243.833.1070625 [at] webmail34.lax.untd.com> RE Credibility of Theatre Consultant Dear Bill, I have found it to be amazingly effective to track down the person = who gave a whole lot of money to get the theatre named after himself = or herself, and let that person express their displeasure to the PTBs = that the theatre will acquire a bad reputation, and therefore they = will get a bad reputation, unless the suboptimal issues are corrected. The donor can even hint that the hefty donation that the theatre was = expecting next year to acquire omitted items won't be there if they = fail to appease to the Theatre Consultant re: equipment, this year. I have found that most heavy-hitter donors DO want to be tipped off = if there is a possibility of future embarrassment, of if the venue = bearing their name has a shortened service life, and therefore the = glory of having a venue named after them will not last as long as = they have anticipated and their grandchildren will not be able to = enjoy their surname on a building due to functional obsolescence. /s/ Richard ________________________________ > There are instances where I've made a case for this or that (seems = like access, circulation, and stage heigth are common issues) and the = Owner acknowledges the issue and chooses the non-recommended option. = It's there right and responsibility. Interestingly, usually the = architect is my ally in these cases. So maybe the issue is how does = a user grow creditbility so that they are included in these = discussions? = > Bill Conner ASTC, ETCP CR-T , ------------------------------ Message-Id: <3.0.6.32.20070121212839.007d8bf0 [at] mail.interlog.com> Date: Sun, 21 Jan 2007 21:28:39 -0500 From: Villem Teder Subject: Surtitles and PPT, was digi projector Howdy all I'll try to offer a condensed overview of PPT as used for surtitles by the Canadian Opera Company for the past twelve years or so, and my first impressions of PPT2007. (Catching up on reading a weeks worth of digests as we start production on our winter season. Also, by coincidence, have to explain to a new assistant TD why one computer that crashed during Friday's rehearsal has to be replaced by that is loaded with antiquated software.) I am a stagehand here in Toronto, and have operated surtitles for the COC for most shows since they switched to video projection in 1991. The first system used was VideoShow 160, as they already had it. We started looking for something better right away. After a few years, we were show PPT 3 by the production manager of the symphony when they borrowed one the projectors (and I) for one show. After playing with it for a while, and comparing other presentation programs, I recommended that they consider PPT. A system was purchased in the summer of 1994, and we started using PPT for shows in January 1995. By the time they bought PPT, it was already version 4. We quickly discovered that the speeds of the fade through black transitions had changed so that the "slow" was faster than what "medium" had been in version 3. We decided to prepare shows using PPT 4, but to convert them to PPT 3 to display, using the PPT3 Viewer. As newer versions of PPT were released, I would look at them to see if anything had changed in the fades department. Usually nothing had, and we continued to use the PPT4/PPT3 viewer combination. In the Fall of 2000, I discover they finally replaced the failing Talaria with LCDs and the computer with something running Win98SE and PPT2K. We reluctantly switched over. PPTXP (2002) introduced fades in custom animations. This gave control over fade times, but there were issues in running a show. There was no way to advance to the next slide without having to click, which made for inconsistent transition timings. Actually, you could get an advance to the next slide automatically if there was only one animation on the slide. To do this required separate slides for the fade in and fade out parts, a nightmare for editing content. PPT2003 did not improve on any of this as far as we were concerned for surtitles. About the time the COC announced plans for their Ring Cycle, the issue of better slow fades came up. I explained about the issues of PPT 2002 and 2003. I also mentioned that Apple's Keynote version 2 had fully variable transition times of 0 to 60 seconds. Since they balked at switching operating systems, I did a demo for one season using the old PPT3 Viewer, and an old computer I had kicking around. Everybody was happy, but since they didn't want to rent my computer, they managed to put together something with an operating system old enough to run PPT4 (older than Win98SE). This what we have been using the past two to three years. Shows are created and edited in PPT2K or PPT2003. At the theatre, using PPT2K I convert the file to PPT4, sneaker-net the file to the other computer which converts it to PPT3 format. Then I sneaker-net the file back to the other computer where we run the PPT3 Viewer to show it. To jump around in the files during rehearsals, we had a printed copy of the outline to cross-reference our cue numbers to PPT's slide numbers. As the files got edited, new versions had to be printed each day. This became rather wasteful. I dug up an old notebook that would allow me to run the file in outline view. I find this more flexible than any version of presenter view that PowerPoint has included. I have tried other presentation programs, but found they don't have an easy way to create a show from just an outline like PPT does. Perhaps I've used PPT so long that I don't have the patience to try to learn anything else. The only exception is Apple's Keynote. That would be my first alternative to PPT. For surtitles. Now for my first impressions using PPT2007, the pre-release trial version, running in WINXPpro. I LIKE IT!!!!!!!!!! Transitions haven't changed. The fast is still around half a second, and the slow is still around a second. The animations are about the same. A bunch of stuff has been added for effects, but being inappropriate for surtitles, I haven't looked at them. There are sites that review the changes. The whole look of the program has changed. Some things are easier to find and others aren't. Some stuff has been dropped. One of the biggest changes is greater control over slide masters. You can now create custom layouts. You can have multiple text placeholders that show up in outline view. One thing I've played with is applying animations to the placeholders in the master layouts. A different layout for each speed of animation you want on the slide. And you can name the layouts to whatever you want. You create a layout for slow, medium, fast, and any combination you want. Then it is just a matter of applying that layout to any slide you want. If you find the tempo is a bit different, you just change the times on the appropriate master layouts. The issue of advancing slides after animations still exists, but I've found a third-party animation add-in that adds an auto transition function. I've tried it and bought a copy. I am in the process of putting together something to demo to the COC to get them to consider upgrading to PPT2007. Probably not until after we get our current productions opened. Regards, Villem Teder Local 58 Toronto ------------------------------ In-Reply-To: References: Message-Id: <60063221-4934-4218-B63D-DED6F62EFE01 [at] gmail.com> From: Andrew Vance Subject: Re: The Joy of Sets. Date: Sun, 21 Jan 2007 22:38:58 -0500 On 21 Jan, 2007, at 20:15 , Dale Farmer wrote: > The front page of today's Boston Globe's Art's section has an > article about a set designer. (the print version of the article has > photos and a couple of sketches of his sets). Here's another story from the Providence newspaper on Eugene Lee, with emphasis on his design for "Wicked," for those who are interested. http://tinyurl.com/yrk2ux -- Sincerely, Andrew Vance Lighting Designer atvanceld [at] gmail.com ------------------------------ Date: Sun, 21 Jan 2007 23:23:46 -0500 Subject: Re: The Joy of Sets. From: Herrick Goldman Message-ID: In-Reply-To: <22245472.1169428830871.JavaMail.root [at] m41> Word has it: He's mad as a Hatter. ...."Well that's what I heard!" :) I'm sure it's gorgeous. Although I saw a set for some version of Xmas Carol that Eugene did just as Wicked opened...oddly enough it was all clockwork based...hmmm..... On 1/21/07 8:15 PM, "Dale Farmer" wrote: > > By Catherine Foster, Globe Staff | January 21, 2007 > > PROVIDENCE -- The cannons are as small as pencils, the sails the size > of cocktail napkins. A host of tiny pirates are attached to the ship > by pins. Eugene Lee picks up one of them to demonstrate how, once the > set for the new multimillion - dollar musical "The Pirate Queen" comes > to life, actors will brandish their swords to fight on the deck of a > galleon. -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ In-Reply-To: References: Message-Id: <57E022FA-533E-44E1-87CF-DCAF93D219EB [at] rochester.rr.com> From: Bruce Purdy Subject: Re: Real bullet! Date: Sun, 21 Jan 2007 23:30:31 -0500 On 21 Jan 2007, at 17:58, frank.wood95 [at] ntlworld.com wrote: > And I don't see the victim as entirely blameless, either. I know > that if someone were to need to discharge a firearm towards me, I > should want to know what its load was, very surely. At least one > illusionist, Tung Ling Soo as I recall his name, was shot on stage > in a bullet-catching illusion which went wrong. Close. Actually, his name was William Ellsworth Robinson, An American Magician - but his stage name was Chung Ling Soo. He was shot dead in London in 1918, The best known of several performers that have died performing that illusion. Bruce ____________________ Bruce Purdy "Spreading laughter & wonder - one miracle at a time" http://www.cnymagic.com bruce [at] cnymagic.com ------------------------------ You are subscribed as stagecraftlist [at] theatrical.net End of Stagecraft Digest #1101 ******************************