Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41762257; Sun, 28 Jan 2007 14:33:56 -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 41761745; Sun, 28 Jan 2007 14:33:10 -0800 X-Spam-Checker-Version: SpamAssassin 3.1.7 (2006-10-05) on localhost X-Spam-Level: * X-Spam-Status: No, score=1.1 required=5.0 tests=ADVANCE_FEE_1,AWL,NO_RECEIVED, NO_RELAYS,PRXY_USER_BODY_AMBIEN,PRXY_USER_BODY_CIALIS, PRXY_USER_BODY_LEVITRA,SARE_MILLIONSOF,SUBJ_HAS_UNIQ_ID autolearn=no version=3.1.7 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 #1115 Date: Sun, 28 Jan 2007 14:32:37 -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 #1115 1. Re: Flying people by "Jeffrey E. Salzberg" 2. Re: Flying people by Bill Sapsis 3. Re: Flying people by Bruce Purdy 4. Re: Fight Choreography (Strangulation) by Bruce Purdy 5. Re: how old?? by Bruce Purdy 6. Re: how old?? by Andy Ciddor 7. Re: Flying people by "Jeffrey E. Salzberg" 8. Re: House lights by Tony Kambic 9. Re: wireless dimming (WAS: electricity to revolving stage) by Tony Kambic 10. Re: Wireless DMX/data - need some ideas by Tony Kambic 11. Re: Line-set compensator diagram/picture? by Rigger 12. Re: Flying people by "Delbert Hall" 13. Re: how old?? by "Paul Schreiner" 14. Re: Fight Choreography (Strangulation) by "Matthew Breton" 15. Re: Fight Choreography (Strangulation) by "Paul Schreiner" 16. Re: Flying people by Stephen Rees 17. Re: How old are we? by Loren Schreiber 18. Re: flying people-why? by Kim Hartshorn 19. Re: How old are we? by Stephen Rees 20. Re: How old are we? by Bill Sapsis 21. Slick Surfaces - OT by Stephen Rees 22. Re: Flying people by Stuart Wheaton 23. Re: how old?? by Charlie Richmond 24. Re: how old?? by Charlie Richmond 25. Re: How old ARE you people anyway? by "Paul Schreiner" 26. Re: Full Monty Sign by Chip Wood 27. Re: House lights by Clive Mitchell 28. Re: Slick Surfaces - OT by Clive Mitchell 29. Re: how old?? by Clive Mitchell 30. Re: Slick Surfaces - OT by "Paul Schreiner" 31. Re: flying people-why? by "Brian Munroe" 32. Re: how old?? by Clive Mitchell 33. Re: flying people-why? by KEITH ARSENAULT 34. Re: Tape Shader by 35. Re: how old?? by Charlie Richmond 36. New Theatre Open At Last! by "Jonathan S. Deull" 37. Re: how old?? by Michael de Almeida 38. Re: New Theatre Open At Last! by Chip Wood 39. Re: Movies & PA by 40. Re: flying people-why? by Bill Sapsis 41. The Deep End of the Metamorphoses Pool by "Adriane Bennett" 42. Re: The Deep End of the Metamorphoses Pool by Stuart Wheaton 43. Re: All the Montclair students by Stuart Wheaton 44. Re: The Deep End of the Metamorphoses Pool by "Adriane Bennett" 45. Re: How old ARE you people anyway? by "Adriane Bennett" 46. Re: flying people-why? by Michael Heinicke 47. Re: Line-set compensator diagram/picture? by "Brian Munroe" 48. Re: Slick Surfaces - OT by James Feinberg 49. Re: How old ARE you people anyway? by MissWisc [at] aol.com 50. Re: Flying people by MissWisc [at] aol.com 51. Peter Pan - flying people - why? by "ladesigners [at] juno.com" 52. Re: Pre show announcements by MartySrq [at] aol.com 53. Re: How old ARE you people anyway? by "ladesigners [at] juno.com" 54. Re: How old ARE you people anyway? by Rigger 55. Re: Flying people by MartySrq [at] aol.com 56. Re: The Deep End of the Metamorphoses Pool by Myself 57. Re: Line-set compensator diagram/picture? by "Brian Munroe" 58. Re: Slick Surfaces - OT by Bruce Cooper 59. Re: The Deep End of the Metamorphoses Pool by Steve Shelley 60. Re: How old ARE you people anyway? by "Paul Schreiner" 61. Re: Peter Pan - flying people - why? by Bill Sapsis 62. Re: All the Montclair students by Stuart Wheaton 63. Re: how old?? by Andy Ciddor 64. Re: Pre-show announcement... have I missed anything? by MissWisc [at] aol.com 65. Re: Flying people by Jim Hyslop 66. Re: Flying people by "Delbert Hall" 67. Re: Line-set compensator diagram/picture? by Rigger 68. Re: Pre-show announcement... have I missed anything? by Andrew Vance 69. Re: Pre-show announcement... have I missed anything? by Rigger *** 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. ---------------------------------------------------------------------- Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Flying people Date: Sun, 28 Jan 2007 06:03:01 -0500 Message-ID: <000001c742cb$e0f33ce0$6501a8c0 [at] Dell> In-Reply-To: > and who's parents have subsequently sued the school district for > umpteen millions of dollars.... taken into account how many > YEARS that same > amount would have paid for a Facility Manager???? Of course, that judgment -- if upheld on appeal -- will be paid by the insurance company. ------------------------------ Date: Sun, 28 Jan 2007 06:29:56 -0500 Subject: Re: Flying people From: Bill Sapsis Message-ID: In-Reply-To: On 1/27/07 10:34 PM, "Stuart Wheaton" wrote: > Perhaps the people who got nasty could try re-reading it and see if I > really said what they read into it as well. OK. I've done as you asked. I stand by my response. I also don't agree with your characterization of my response as nasty. Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile ------------------------------ In-Reply-To: References:

Message-Id: From: Bruce Purdy Subject: Re: Flying people Date: Sun, 28 Jan 2007 08:08:16 -0500 On 28 Jan 2007, at 01:14, Jon Ares wrote: > Or, in the case of a particular school district, who has hired me > in another capacity, who wouldn't hire (me, or any other highly- > qualified) Facility Manager to run their new PAC, when... only a > month or so after opening the building, some young'un (who > trespassed) had fallen into an open orchestra pit, and who's > parents have subsequently sued the school district for umpteen > millions of dollars.... taken into account how many YEARS that same > amount would have paid for a Facility Manager???? Not my area of expertise, but I would think that the lawsuit might be covered under the school's liability insurance. They wouldn't have been able to charge a salary to liability insurance. Ah, There's the rub! On a related matter, I wonder if the injured boys parents - or the ambulance chasing lawyer that solicited their business - would be as likely to sue, or for such a large amount at least, if the school didn't have a juicy insurance policy? Schools get sued, so they need insurance - they have insurance so they get sued - they therefore all need more insurance - the lawsuits get bigger - snowball effect! Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References: Message-Id: <2AF17384-19A4-4527-995A-4271D6E4E0FA [at] rochester.rr.com> From: Bruce Purdy Subject: Re: Fight Choreography (Strangulation) Date: Sun, 28 Jan 2007 08:24:03 -0500 On 28 Jan 2007, at 02:55, Timothy Nielsen wrote: > One of the > characters is called upon to > strangle the other with a telephone cord, and I've been researching > safe ways to do this. My research, however, > has not been the most productive in detailed explanations as to how to > perform this in the safest manner. > > Having the cord around the actor's neck concerns me IMHO, so long as the cord never crosses itself behind the victim's neck, and the ends are only held in the attacker's hands, it should be safe. The cord should be held tight enough to look convincing, but not tight enough to actually hurt - beyond that, it involves acting ability on the part of the stranglee. How tight that is, must be worked out betwixt the two of them, and some kind of a signal worked out in case it becomes too tight. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References:

Message-Id: <5EF0A97E-B682-4857-BBE2-F85498E9273A [at] rochester.rr.com> From: Bruce Purdy Subject: Re: how old?? Date: Sun, 28 Jan 2007 09:02:13 -0500 On 28 Jan 2007, at 00:54, Andy Ciddor wrote: > At 16:07 28.01.2007, Michael Powers wrote: >> As for me I'm 0011011000110001. > > That literally makes Michael older than Adam. > 13,873 years ago is about 8,000 years before the Judeo-Christian > date for the Creation. > > Binary 0011011000110001 is actually decimal 13,873 Unless I'm doing something wrong, that's not what I get. By my figuring, 0011011000110001 translates to 35,948. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-Id: <7.0.1.0.2.20070129011556.035c1138 [at] kilowatt.com.au> Date: Mon, 29 Jan 2007 01:29:02 +1100 From: Andy Ciddor Subject: Re: how old?? In-Reply-To: References:

At 01:02 29.01.2007, Bruce Purdy wrote: >That literally makes Michael older than Adam. >>13,873 years ago is about 8,000 years before the Judeo-Christian >>date for the Creation. >> >>Binary 0011011000110001 is actually decimal 13,873 > > Unless I'm doing something wrong, that's not what I get. By my >figuring, >0011011000110001 translates to 35,948. For a start, it has to be an odd number because it ends in a 1. I've now checked on two different binary to decimal calculators under Windows XP, Windows 2000 and PalmOS and they all agree. Just to be sure, I'll do it by hand. Working right to left, it's 1 + 16 + 32 + 512 + 1024 + 4096 + 8192 = 13873 Andy ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Flying people Date: Sun, 28 Jan 2007 10:06:23 -0500 Message-ID: <000701c742ed$e0455130$6501a8c0 [at] Dell> In-Reply-To: There is right on both sides here. Foy is the standard by which anyone flying humans is judged. This is = how it should be. Foy earned it. I don't think that either Delbert Hall or = Tracy Nunnally (or any other levitation gurus) would argue the point. There's much to be said, though, for shopping the List. We know these = guys. We've been talking to and listening to them for years (I've been on the = List -- with one intermission -- for over 10 years). That said, though, my responsibility is to get the best value per dollar = for my client. I'll shop the List first, but if the best (and "best" does = not always mean "cheapest") deal is from an outsider, so be it. ------------------------------ Date: Sun, 28 Jan 2007 10:15:51 -0500 From: Tony Kambic Subject: RE: House lights In-reply-to: Message-id: <000001c742ef$3595b890$04000100 [at] tony> I've never had good experience with the 'dimmable' fluorescent lamps. Three reasons: 1) They dim, but they get to a point around 10% where they begin to flicker, and don't really have much output anyway. 2) When bringing them back on, they still 'bump' and flash at random as the ballasts react to the current, then dim down to the appropriate level. 3) When dimming, if there are any sound cable runs in the area of the ballasts, shielded or not, it created a wonderful hum through the sound system. I would stick with incandesents. The alternative I've seen at most HS and university auditoriums is a set of fluorescent and incandescent lamps, fluorescent for classes and work, incandescents for presentations and shows. I've never checked the wattage of the fluorescents, nor used LED's. The LED's would be more power efficient, but depending upon how high your auditorium is, they may not have enough output for your space. Maybe consult with a lighting contractor on their use. HTH, Tony M Kambic Lead Electronics Technician - City Theatrical Freelance lighting technician, NY, NY > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Philip > Johnson > Sent: Saturday, January 27, 2007 1:01 PM > To: Stagecraft > Subject: House lights > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The university I work at is looking at new lamps to use in the auditorium > lights. They proposed the flourescent floods which they say are > dimmable.(it says so on the box) I am concerned with their ability to be > used at low intensity and also if they bump when they fade up to a full > intensity. Currently they do the typical flash as all flourescent lamps > do. > > Questions > > 1. Anyone have experience with these types of lamps? I have 150 watt > lamps > in them now, need something with comparable light output > > 2. Anyone have experience with using LED type lamps for this use. I > would > love to have a dimmable light which is energy efficient. > > 3. Should we just suck it up and use the 150 watt incandescent lamps? > > > They don't want to replace fixtures at this time, they are swag type with > a > standard screw base. > > > Thanks in advance. > > > -- > Philip Johnson > Professor of Theatre > Texas A&M University-Corpus Christi > ------------------------------ Date: Sun, 28 Jan 2007 10:29:39 -0500 From: Tony Kambic Subject: RE: wireless dimming (WAS: electricity to revolving stage) In-reply-to: Message-id: <000101c742f1$23614fc0$04000100 [at] tony> Yes. Most, if not all, wireless dimming works on 12 or 24 VDC. Power is usually supplied by a battery of the same voltage. You can always purchase batteries with larger current output if you have large loads, or use marine or car batteries if are lighting Vegas. The realistic application of this in theatre involves using low voltage high wattage DC lamps in your practicals if you are to go wireless. Tony M Kambic Lead Electronics Technician - City Theatrical Freelance lighting technician, NY, NY > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of > Kh97925 [at] aol.com > Sent: Friday, January 26, 2007 8:44 AM > To: Stagecraft > Subject: Re: electricity to revolving stage > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'm new to the list (not an introduction, just pointing it out) but even > with wireless dimming don't you still need to get power to the dimmer? I > was > thinking that depending on how much power you need you could use a few car > batteries & an inverter if the practical have to have AC power. If all > you need > is for a few lamps to work you could even use 12v bulbs & not fool w/the > inverter. ------------------------------ Date: Sun, 28 Jan 2007 10:39:00 -0500 From: Tony Kambic Subject: RE: Wireless DMX/data - need some ideas In-reply-to: Message-id: <000201c742f2$71d98c70$04000100 [at] tony> Mike, Easy. There are many different varieties of wireless communications. If you are looking for straight DMX, City Theatrical's Wireless Data System gets good results over large areas with antennas provided with the equipment. If you need more range, there are a number of amplified & directional antennas available that work with the system. If you are looking to send more than DMX, contact me off list and I will put you in touch with our engineer who can explain how we can further help. Tony M Kambic Lead Electronics Technician - City Theatrical Freelance lighting technician, NY, NY > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Michael > Brubaker > Sent: Friday, January 26, 2007 4:55 PM > To: Stagecraft > Subject: Wireless DMX/data - need some ideas > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > So I've got a challenge. > > I need some solutions to get data--DMX or straight ethernet, does not > matter, really--to 10-14 scattered locations that are on about a 3 mile > radius. I presume that there are some "off the shelf" technologies out > there that can accomplish this, but I don't know what they are. The > receiving end accepts DMX over CAT5 but does not itself have a wireless > receiver. > > Any thoughts? > > Mike Brubaker > Head of Design > Associated Controls + Design > 6850 N Guion Rd > Indianapolis, IN 46268 > > T: 800.382.3961 x117 > T: 317.298.3961 x117 > F: 317-293-0281 > ------------------------------ Message-Id: In-Reply-To: References: Date: Sun, 28 Jan 2007 10:48:40 -0500 From: Rigger Subject: Re: Line-set compensator diagram/picture? At 12:29 AM -0600 1/28/07, Stephen Lee wrote: > I'm familiar with the concept of weight transfer as an arbor > travels up & down. Being a featherweight, it's pulled me off > the deck before, much to the entertainment of my coworkers. > > I've heard compensators mentioned, but haven't seen one before, > and am curious as to their design & operation. I don't know if there are pictures extant, but I might be able to help you draw one in your mind. The ones I've seen consist basically of a length of roller chain attached to the bottom of the arbor, one foot of which weighs the same as one foot of the liftline cable times the number of liftlines, e.g. if you have five lines per batten, and the wire rope your lines are made of weighs 0.5lbs. per foot, your comp chain should weigh 2.5lbs. per foot. The length of comp chain is as long as the battens' overall travel... As the arbor raises, the liftline weight is transferred over the top of the headblock to the batten side of the system; you already know this. However, the arbor is also picking up the compensator chain at a rate equal to the cable-weight transfer - the pipe gets heavier from the cable transfer at the same rate that the arbor gets heavier from picking up the weight of the chain. Ergo, the transfer effect is minimized or eliminated. The reason roller chain is used is that it is generally quieter than conventional chain, and generally doesn't tend to whip around as much. The key word, of course, is "generally." There are probably other, more high-zoot compensator systems out there, but this is the simplest one, and like I said, the ones I've seen and dealt with were all of this type. 'Zat help? -- Dave Vick rigger [at] tds.net The reason they call it "The American Dream" is because you have to be asleep to believe in it. ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 11:23:54 -0500 From: "Delbert Hall" Subject: Re: Flying people In-Reply-To: References: Now that I am rested and have a little time to respond intelligently, let me address how Lauren can help improve the success and safety of the flying effects for this production. Lauren, you can make a huge difference, not by saying that this rigger is not qualified (you really don't know that), but by doing things that actually will make a positive difference. Here are my suggestions: 1) Help ensure that the planning of the flying effects is done as well as possible. a. Get accurate information on the theatre (length of the battens, max batten height, grid height, trim of the borders, and information on the counterweight system) and pass this information on to the rigger/flying director. b. Get an accurate floorplan, and if possible a longitudinal section of the stage for the rigger/flying director. c. Make sure that the set designer knows that the operators will need to see the actors on stage and that there is a plan to make this happen d. Let the scenic designer know that if Peter needs to land on the mantle of the fireplace, that mantle needs to be 18" to 24" deep. And that it would be great to have something on the wall that Peter can hold to when standing on the mantle. 2) Help ensure that the load-in of the rigging goes as well as possible a. Do everything possible to ensure that the load-in has plenty of time and is not rushed. b. Help get folks to help with the load-in c. As the rigger/flying director what tools, etc. he needs for the load-in d. Get a 100lb sandbag to use for testing the installed systems 3) Get good operators and prepare them* a. Operators need to weight at least 50 lbs more than the person that they are flying b. Operators need to have good upper-body strength c. Operators need be responsible and be willing to follow instructions d. Operators need to be at all flying rehearsals e. A minimum of five operators is typically needed for Peter Pan, so have six or seven f. Operators will need good tight fitting gloves. Wide receiver gloves work best. g. Operator need to wear appropriate footwear (no flip-flops) h. Rehearse until everyone feels comfortable i. It is permissible to simplify the flying to keep it safe. *Accidents are very rare, but when they occur, they are almost always a result of human error and not equipment failure. Mary Martin broke her are in a flying accident on Broadway. This was a result of an operator error and not an equipment problem. 4) It is best if the wall behind the mantle is not in place for the first flying rehearsal, so talk to the TD about this. It can be added after the operators get the hang on landing Peter on the mantle. 5) Rehearse everything. The most dangerous flight in Peter Pan is Peter's flight the window. It is important that the windows are open before Peter tries to fly onto the se This may sound like common sense, but numerous Peter Pans have been hurt because of communication errors and the windows did not open (a famous accident at the Muny). Make sure that this does not happen you. 6) Equipment should be checked before every rehearsal, especially the thin cables that connect to the harnesses If you do the things above, you will probably a very safe production. Let me know if I can be of any more help. -Delbert -- Delbert L. Hall ETCP Certified Rigger - Theatre 423-773-4255 ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 11:34:55 -0500 From: "Paul Schreiner" Subject: Re: how old?? In-Reply-To: References:

On 1/28/07, Andy Ciddor wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 01:02 29.01.2007, Bruce Purdy wrote: > >That literally makes Michael older than Adam. > >>13,873 years ago is about 8,000 years before the Judeo-Christian > >>date for the Creation. > >> > >>Binary 0011011000110001 is actually decimal 13,873 > > > > Unless I'm doing something wrong, that's not what I get. By my > >figuring, > >0011011000110001 translates to 35,948. > > For a start, it has to be an odd number because it ends in a 1. > I've now checked on two different binary to decimal calculators under > Windows XP, Windows 2000 and PalmOS and they all agree. > Just to be sure, I'll do it by hand. > Working right to left, it's 1 + 16 + 32 + 512 + 1024 + 4096 + 8192 = 13873 Methinks Bruce was working t'other direction...cuz I just threw the digits into a calc in reverse order and got 35948. ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: RE: Fight Choreography (Strangulation) Date: Sun, 28 Jan 2007 11:43:20 -0500 >Having the cord around the actor's neck concerns me, and I was >wondering if you might be able to either lead me >to some useful books on the subject, or share some of your own >personal knowledge with me. Use spiral telephone cord - the kind that connects the handset to the base -- instead of straight cord, since it has much more give. If Lee (being strangled) holds his hands up to his neck, as though trying to prevent himself from being choked, he should also be able to slip his thumbs underneath the cord and relieve pressure. Austin can then make all the cruel gestures he wants. As always, in any fight scene, make certain both participants are aware of the dangers, and how they're being addressed. An "escape" cue -- a sign to lay off pressure -- should be in place, in case something goes awry. I found the final moment of the scene -- when the set peels away, and brother chases brother across the Western landscape -- to be much more dangerous, since there wasn't time to remove the telephone cord. Matthew Breton Design for Theater and Dance ===================== _________________________________________________________________ From predictions to trailers, check out the MSN Entertainment Guide to the Academy Awards� http://movies.msn.com/movies/oscars2007/?icid=ncoscartagline1 ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 12:06:05 -0500 From: "Paul Schreiner" Subject: Re: Fight Choreography (Strangulation) In-Reply-To: References:

> Use spiral telephone cord - the kind that connects the handset to the base > -- instead of straight cord, since it has much more give. If Lee (being > strangled) holds his hands up to his neck, as though trying to prevent > himself from being choked, he should also be able to slip his thumbs > underneath the cord and relieve pressure. What he said. (Did the show myself a few years ago...) > As always, in any fight scene, make certain both participants are aware of > the dangers, and how they're being addressed. An "escape" cue -- a sign to > lay off pressure -- should be in place, in case something goes awry. My recommendation for any fight scene is to make absolutely certain that the "victim" has total control of the fight. Lee should be leading the gestures and contortions, with Austin following. And no improv! ------------------------------ Date: Sun, 28 Jan 2007 12:14:53 -0500 Subject: Re: Flying people From: Stephen Rees Message-ID: In-Reply-To: Am coming to this kind of late in the discussion but I would certainly hesitate to select a production where flying effects were required knowing that there were issues with paying for a company with appropriate skills and equipment to safely create the effects. When we (as a faculty) were selecting a season that included Wizard of Oz, the first thing I did was to seek quotes from two nationally known and well-regarded companies. The higher of the two quotes was part of the budget even as discussion continued toward final selection. Even though other budget numbers were somewhat altered, the flying effects cost was fixed. It was just the cost of mounting that show. In the end, we had $$ money left over. Also, the discussion seems to revolve around competent riggers, as individuals, when in fact, even the competent rigger might not have the actual equipment necessary to effect the gag. The companies who fly people for a living have a depth of stock of these items AND provide a human being along with the gear for training and installation. They are full-service operations and well worth every cent they cost. That was certainly true in our case. My 'ha penny Steve Rees On 1/27/07 7:07 PM, "Jim Hyslop" wrote: > > Also, please keep in mind the context of the original post. This is a > community theatre we're talking about. My bet would be that Foy's fees > would double or even triple the entire budget for the show, if not for > the whole season. Foy may be the best, but not everyone can afford the > best. Surely there must be other competent riggers around? ------------------------------ Message-Id: <7.0.1.0.2.20070128092003.014e1268 [at] mail.sdsu.edu> Date: Sun, 28 Jan 2007 09:22:28 -0800 From: Loren Schreiber Subject: Re: How old are we? In-Reply-To: References: Just booked a room for USITT in Phoenix. For the first time I qualify for a senior discount. <*sigh*> That makes me ifty-fay-ive-fay on Ground Hogs' Day. Loren "Grits" Schreiber Long Reach Long Rider: "Out of the Wings and Into the Wind!" Supporting Broadway Cares/Equity Fights AIDS and Behind the Scenes http://www.lrlr.org ------------------------------ Message-ID: <20070128122837.thqbkg4vkogs48ss [at] webmail.plattsburgh.edu> Date: Sun, 28 Jan 2007 12:28:37 -0500 From: Kim Hartshorn Subject: re: flying people-why? References: In-Reply-To: My personal feeling is that if you want to do Peter Pan because you like the music or the story that's great. Such a production can probably be very successful with extremely limited or minimal flying effects. On the other hand if you want to do Peter Pan because you want to amaze the audience with Theatre Magic you should have the budget to do it safely and correctly. (I would like to insert here that, for me, hiring someone else to do it is not much fun, however if a company were to do it in house, doing it safely and correctly would in the end require a much greater investment in research, time, and equipment) In the end, as fond as I am of Theatre Technology i rather dislike theatre that is dependent upon it....I am positive you could do a beautiful production of Peter Pan without any technological solution to flying at all, that's why they call it the 'willing suspension of disbelief' Kim Hartshorn ------------------------------ Date: Sun, 28 Jan 2007 12:31:18 -0500 Subject: Re: How old are we? From: Stephen Rees Message-ID: In-Reply-To: Really?? I should make that inquiry myself. Steve On 1/28/07 12:22 PM, "Loren Schreiber" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Just booked a room for USITT in Phoenix. For the first time I qualify > for a senior discount. <*sigh*> > > That makes me ifty-fay-ive-fay on Ground Hogs' Day. > > > Loren "Grits" Schreiber > Long Reach Long Rider: "Out of the Wings and Into the Wind!" > Supporting Broadway Cares/Equity Fights AIDS and Behind the Scenes > http://www.lrlr.org > ------------------------------ Date: Sun, 28 Jan 2007 12:39:07 -0500 Subject: Re: How old are we? From: Bill Sapsis Message-ID: In-Reply-To: Damn. I'm only a few days behind you. I forgot to check into that. I don't mind getting old, it's the senility that makes me forget to check on the discounts that I hate. Kind of a catch 22. On 1/28/07 12:22 PM, "Loren Schreiber" wrote: > Just booked a room for USITT in Phoenix. For the first time I qualify > for a senior discount. <*sigh*> > > That makes me ifty-fay-ive-fay on Ground Hogs' Day. ------------------------------ Date: Sun, 28 Jan 2007 12:40:49 -0500 Subject: Slick Surfaces - OT From: Stephen Rees Message-ID: In-Reply-To: We just purchased a new TV remote control for my father-in-law who has limited grasping function in his only usable hand. The buttons are good and large and he can manipulate them OK. The problem is the very slick surface of the case which causes him to loose the thing with great regularity. Anybody have a suggestion for a coating that might be applied to the case to "tackify" it and make it easier to grasp without impairing functionality. TIA Steve Rees ------------------------------ Message-ID: <45BCE465.7090101 [at] fuse.net> Date: Sun, 28 Jan 2007 12:59:01 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: Flying people References:

In-Reply-To: Eric Rouse wrote: > What he was telling a young lister, who I am sure is keeping track of > this juicy thread ;-), is that she should only listen to those that > are active on this list and that those not affiliated or continuously > active have nothing useful to add. Where did you get that??? OK, I said "lets keep it local". I meant that if one is looking to hire a People Flying specialist one might at least consider giving our own members a call for availability and pricing. A young person should listen to everybody and anybody who has anything to say, but that being said, how does she sort out the wheat from the chaff? Maybe she comes here and asks? This thread has certainly proven that nothing goes unchallenged. Of course it has also shown us to be willing to call people stupid and small-minded just because they wish to acknowledge anybody other than the acknowledged premiere company in the field as being capable of pulling off the job. Remember as we beat this to death and insult people, we don't even know who is actually doing this job. It might even be an experienced somebody who works for a reputable performer flying company. I very much agreed with Eric's list of things to look for. I would add one more item, If a go-no go gage is not a prominent part of the install, run far away and take as many with you as possible as you go. Stuart ------------------------------ Date: Sun, 28 Jan 2007 09:56:25 -0800 (PST) From: Charlie Richmond Subject: Re: how old?? In-Reply-To: Message-ID: References:

On Sun, 28 Jan 2007, Paul Schreiner wrote: > Methinks Bruce was working t'other direction...cuz I just threw the > digits into a calc in reverse order and got 35948. So now we know who's at the big end and who's at the little one - or, who's the Mac and who's the PC person.. C ------------------------------ Date: Sun, 28 Jan 2007 09:59:58 -0800 (PST) From: Charlie Richmond Subject: Re: how old?? In-Reply-To: Message-ID: References:

On Sun, 28 Jan 2007, Charlie Richmond wrote: > So now we know who's at the big end and who's at the little one - or, who's > the Mac and who's the PC person.. But more likely who learned machine language on Intel and who learned it on Motorola... C ------------------------------ Subject: RE: How old ARE you people anyway? Date: Sun, 28 Jan 2007 13:07:55 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0744FCDF [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" Cc: Lamplighter [at] tcon.net (Frank E. Merrill) > The Indianapolis Colts are going to play in the Super Bowl in=20 > honor of my birthday where I'll be REALLY close to sixty=20 > years old, and I have given Peyton Manning permission to=20 > forego any more appropriate birthday gift in favor of winning=20 > this one game for this Gipper. It'd be nice to see Bill Polian finally win one. Interestingly enough, Bill was the assistant coach on my little league baseball team back when he was first hired in the Buffalo Bills' scouting department, and his son was a year behind me in high school. Without a doubt, the most competitive man I've ever met. ------------------------------ Message-ID: <45BCE8DB.1010605 [at] gmail.com> Date: Sun, 28 Jan 2007 11:18:03 -0700 From: Chip Wood Subject: Re: Full Monty Sign References:

In-Reply-To: Jon Ares wrote: >> May not work for you, but I did the drag race in "Rebel w/o a Cause" >> with 2-12V sealed beam headlights lashed to respective shopping carts. >> They faced directly DS and hid the two actors behind pushing the carts >> from US to DS. The car batteries were in the carts. I had a small >> pyro set in the pit. Black out! Nobody in the audience ever saw the >> pushers. > > > That is so kewl. > > Newbies on the list: this is an excellent example of great gems of > wisdom and gadgetry one can take away from this list!! Even for > pseudo-aulde-phartes like me. Filing this gag away in my kit.... > Don't forget to tie off (rigger's word) the shopping carts to a substantial US tie-point so the over-adrenalinized actors don't push them into the pit. Another way to rig the gag is to have a single batt US and and have the long wire connectors pull apart just as they reach the apron. My kill switches were actor operated on the cart handles. Sometimes the guy who went over the cliff forgot to release it. I black draped the carts and the actors, but don't think that was even necessary. Thanks for the compliment, but I can't remember who I stole it from. Chip ------------------------------ Message-ID: <26y0iWKYcOvFFwyM [at] ntlworld.com> Date: Sun, 28 Jan 2007 18:10:32 +0000 From: Clive Mitchell Subject: Re: House lights References:

In-Reply-To: In message , Tony Kambic writes >I've never checked the wattage of the fluorescents, nor used LED's. The >LED's would be more power efficient, but depending upon how high your >auditorium is, they may not have enough output for your space. Maybe >consult with a lighting contractor on their use. LEDs are MUCH less efficient than fluorescent. They are currently an expensive option best suited to decorative highlighting. -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 18:17:50 +0000 From: Clive Mitchell Subject: Re: Slick Surfaces - OT References:

In-Reply-To: In message , Stephen Rees writes >We just purchased a new TV remote control for my father-in-law who has >limited grasping function in his only usable hand. The buttons are >good and large and he can manipulate them OK. The problem is the very >slick surface of the case which causes him to loose the thing with >great regularity. > >Anybody have a suggestion for a coating that might be applied to the >case to "tackify" it and make it easier to grasp without impairing >functionality. Carpet grip tape? That strange spongy rubber matting you get for car dashboards? -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: <$qq2m8K5fOvFFwSE [at] ntlworld.com> Date: Sun, 28 Jan 2007 18:14:17 +0000 From: Clive Mitchell Subject: Re: how old?? References:

In-Reply-To: In message , Bruce Purdy writes >> Binary 0011011000110001 is actually decimal 13,873 > > Unless I'm doing something wrong, that's not what I get. By my >figuring, >0011011000110001 translates to 35,948. Nah, I get 13,873 too. 1+16+32+512+1024+4096+8192 = 13873. -- Clive Mitchell http://www.bigclive.com ------------------------------ Subject: RE: Slick Surfaces - OT Date: Sun, 28 Jan 2007 13:23:45 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0744FCE5 [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" > Anybody have a suggestion for a coating that might be applied=20 > to the case to "tackify" it and make it easier to grasp=20 > without impairing functionality. First thought would be those little textured sticky things you put in the bottom of the bathtub for more traction. Another thought, which might help with grasping other objects...go to a decent sporting goods store, and look for football gloves. They've got a nice tacky surface for catching the ball, and are no bulkier (unless you get the winterized version) than baseball batting gloves. ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 13:26:28 -0500 From: "Brian Munroe" Subject: Re: flying people-why? In-Reply-To: References:

On 1/28/07, Kim Hartshorn wrote: > In the end, as fond as I am of Theatre Technology i rather dislike > theatre that > is dependent upon it....I am positive you could do a beautiful production of > Peter Pan without any technological solution to flying at all, that's why they > call it the 'willing suspension of disbelief' Peter Pan without flying would be akin to a Nutcracker without a Christmas tree or a Mother Ginger. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: <87ami8N4sOvFFwyy [at] ntlworld.com> Date: Sun, 28 Jan 2007 18:28:08 +0000 From: Clive Mitchell Subject: Re: how old?? References:

In-Reply-To: In message , Charlie Richmond writes >But more likely who learned machine language on Intel and who learned >it on Motorola... They didn't reverse the binary did they! -- Clive Mitchell http://www.bigclive.com ------------------------------ In-Reply-To: References:

Message-Id: <16CE0680-36A1-4021-B044-B598F903DC27 [at] aol.com> From: KEITH ARSENAULT Subject: Re: flying people-why? Date: Sun, 28 Jan 2007 13:30:35 -0500 it's been done, , , it's been done, , , , , On Jan 28, 2007, at 1:26 PM, Brian Munroe wrote: Peter Pan without flying would be akin to a Nutcracker without a Christmas tree or a Mother Ginger. Keith L Arsenault International Arts & Entertainment Group Tampa, Florida www.iaeginc.com 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ From: Subject: Re: Re: Tape Shader Date: Sun, 28 Jan 2007 18:33:09 +0000 Message-Id: <20070128183309.NBDP219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Rigger > Date: 2007/01/27 Sat AM 02:18:02 GMT > To: "Stagecraft" > Subject: Re: Tape Shader > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 9:00 PM -0500 1/26/07, joreth [at] techie.com wrote: > > > Yesterday, on a week-long gig I was supposed to camera-op for this > > weekend, I got bumped up to "Tape Shader" because someone else > > canceled last minute. Now, I'm pretty confident that I've either > > done this position before or can figure it out quickly, but what the > > heck is a Tape Shader? This is a live corporate production, > >usually with awards shows, entertainment, lectures, etc. I've never > >heard this particular term before, can anyone shed some light on it? > > > Just a guess, but I believe the Shader sets up and maintains camera > color balance, and answers to the TD calling the camera shots. Plausible, but not quite the way it used to work when I was in TV. Then, the line-up was done by the studio engineer, and a guy galled the Vision Control Operator had some final fine tweaks under his hands. He was a highly trained and experienced TV Engineer, with a Grade 1 monitor. He answered to the TD, who was the crew chief, and usually designed and operated the lighting. The shots were called by the director. I have no better guess to offer, and hope that we shall be let in on the secret later. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Date: Sun, 28 Jan 2007 10:34:19 -0800 (PST) From: Charlie Richmond Subject: Re: how old?? In-Reply-To: Message-ID: References:

On Sun, 28 Jan 2007, Clive Mitchell wrote: > They didn't reverse the binary did they! Nahhhh... I was just having fun, as usual... ;-) C ------------------------------ From: "Jonathan S. Deull" Subject: New Theatre Open At Last! Date: Sun, 28 Jan 2007 13:39:29 -0500 Message-ID: <00f201c7430b$a50f19c0$6400000a [at] M60> Dear listers: Apologies in advance for the long post. I=92ve been saving up. I just finished reading the 28 digests put aside during the chaos = leading up to our new theatre opening. In doing so I realized again what a great resource this list and you people are. For the past four years I have = been asking questions and getting great help from many of you, going back to = my way-back-when question about the 10 stupidest theatre design mistakes = for a black box. Well, for those of you who have followed our saga, the construction and design of a new school building including a 150 seat studio theatre, = shop and other performing arts facilities featuring a novice Theatre = Consultant (me), I=92m happy to report that it all turned out. Indeed, I have now = joined the faculty of the school, and get to use what I designed. =20 We opened our theatre last week with a production of Mary Zimmerman=92s =93Metamorphoses.=94 It was a great show. We are just now drying out. = I will be posting photos on-line shortly. Thanks to lister Andrew Hall at the Wheeler School in Providence for all the advice and for the use of his = pool. (Paying it Forward: We now have a collection of lots of useful stuff = for anyone planning a production of =93Metamorphoses=94 -- including = Andrew=92s custom pool liner. Let me know if you can use it.) Extra special thanks to = Sam Fisher and Jeremy Little of Fisher Theatrical for contributing huge = amounts of time, equipment and creativity to the opening. It made a tremendous difference. In the course of the theatre design and construction process, we have = lived through (and I have developed opinions on) many of the issues discussed = in the recent threads about the consultant, architect, client relationship. = We faced many battles, many compromises, the perils of =93Value = Engineering,=94 the nitpicking little details we failed to specify specifically enough, good = but inexperienced (theatre-wise) architects and engineers, and lots of incompetent and irresponsible contractors. The result is workable and functional, with a number of very cool features suggested by list = members. There are, of course, a number of stupidities we will have to live with = for years to come. I=92m thinking about making signs or plaques to clearly identify my bad ideas so generations of faculty and students will know = whom to blame. Our rigging and lighting systems were provided by High Output (Canton, = MA), where David Seneca and company worked patiently and tirelessly with us throughout the process. I recommend them without reservation. Shoutouts for good ideas and advice to Unka Bill, Delbert, Dr. Doom, = Sean, Jared, and too many others to name. Also big thanks to non-listers = Mickey Berra, Gary Steele and Jim Utterback. I have learned, and continue to learn, so much from all of you. Next up, =93Charlie and the Chocolate Factory,=94 followed two weeks = later by our first musical in the space =96 =93Anything Goes.=94 Meanwhile, = we=92re reworking our curriculum to take advantage of the new opportunities presented, and putting final touches on safety training and emergency = plans. Due to our production schedules I will miss USITT this year for the = first time in several years, although Clark Transfer will once again be = exhibiting so drop by and say hi to David Conte and my brother Charlie. To make up = for this lapse, I am looking forward to my first LRLR ride this summer. Anyone in the DC area, please touch base or come by. I=92d love to show = off our new home=85 And finally, a word from the accuracy police: The =93We are the music = makers=85=94 quote attributed on this list to Willy Wonka, was actually borrowed by = Mr. Wonka from 19th century British poet Arthur O'Shaughnessy. Jonathan * * * * * * * * * * * * * * * * * * * * *=20 Jonathan S. Deull Performing Arts Department Edmund Burke School Washington, DC Executive Vice President Clark Transfer, Inc. email: jdeull [at] clarktransfer.com web:=A0=A0 www.deull.net ------------------------------ In-Reply-To: References:

Message-Id: <6A40A996-6553-4CDC-89BB-E20F9ECE52A9 [at] comcast.net> From: Michael de Almeida Subject: Re: how old?? Date: Sun, 28 Jan 2007 13:45:19 -0500 On Jan 28, 2007, at 1:14 PM, Clive Mitchell wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > In message , Bruce Purdy > writes >>> Binary 0011011000110001 is actually decimal 13,873 >> >> Unless I'm doing something wrong, that's not what I get. By >> my figuring, >> 0011011000110001 translates to 35,948. > > Nah, I get 13,873 too. > > 1+16+32+512+1024+4096+8192 = 13873. Hey Guys, You have to convert to Hex then look it up on your friendly ASCII table. It actually comes out to 51. I think this is the way it was intended. At least I hope so. :-) 0011 0110 0011 0001 = 35 31 = 5 1 Mike de Almeida ATD/ME/MA Phone: (860) 560-0771 Theaterworks E-mail: humhead [at] comcast.net Hartford CT Web: http://www.theaterworkshartford.org ------------------------------ Message-ID: <45BCF2FF.4020700 [at] gmail.com> Date: Sun, 28 Jan 2007 12:01:19 -0700 From: Chip Wood Subject: Re: New Theatre Open At Last! References: In-Reply-To: Jonathan S. Deull wrote: I�m thinking about making signs or plaques to clearly > identify my bad ideas so generations of faculty and students will know whom > to blame. > I think that is a terrific idea. Instead of cursing the [at] #$%!&* idiot, we can curse [at] #$%!&* Deull. Good luck in your new digs. Chip ------------------------------ From: Subject: Re: Re: Movies & PA Date: Sun, 28 Jan 2007 19:12:27 +0000 Message-Id: <20070128191227.MCPL17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: "Andy Leviss" > Date: 2007/01/27 Sat AM 03:41:45 GMT > To: "Stagecraft" > Subject: Re: Movies & PA > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > [sigh] I guess it's my turn to play this game... > > Phone jack patchbays are an awful choice for sound reinforcement. They > need lots of maintenance to keep the contacts clean (unless they're > CONSTANTLY being patched and repatched, in which case the frequent use > tends to self-clean). This goes against all the experience of the BBC. I cannot count how many such patchbays the sound will go through on its way from the studio to the trensmitter, mostly on the normalled contacts. These connectors were designed back before 1909, which is the earliest reference I have seen, and have stood the test of time. It was our custom to use jacks with Palladium or Platinum contacts, for normalled circuits. > > More importantly, though, if you're using it to patch mic signals, phantom > power over a phone connector/jack pairing is a BAD thing. If the line's > phantom supply is on when you patch/unpatch, you'll get all sorts of > nasties that in addition to not sounding pleasant can potentially damage > equipment. I think you misunderstand the importance of the "B-gauge" in my post. While similar to the standard stereo headphone connector, which is A-gauge, there are important differences. I have one on my desk as I write. The tip is smaller, and there is an insulating bulge between that and the ring. They were designed for use in manual telephone exchanges, which had big 50V batteries on the lines, and the design ensured that there was no possibility of shorting this out. > > The standard for mic level patching is, indeed, an XLR patch panel. Why in > the world would you consider this a no-no? It's certainly a cleaner, safer > connection than a phone jack, since no one contact can ever short or cross > to another contact while patching/unpatching. This is certainly the standard for the prime connection of microphones. After that, B-gauge jacks are the norm. It was even so in the days when microphone level was -70dB. > > I cannot think of a single circumstance where a phone connector would be > better than an XLR. No, XLR is not easily mechanically normalled, and they > take up more space, but--especially for live sound use--it is far superior > in every other way. > > If you really need it, there are ways to essentially normal an XLR > patchbay, although it gets more complicated. Again, though, the drawbacks > to phone jacks vastly outweigh that benefit. There is no way I can agree with you, here. Trying to do normalling with an XLR connector is, frankly, a bodge. XLRs are fine for the prime connection of a microphone to the system; after that, I don't want to know about them. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Date: Sun, 28 Jan 2007 14:13:40 -0500 Subject: Re: flying people-why? From: Bill Sapsis Message-ID: In-Reply-To: I did a production of Peter Pan back in the early 70's for kids. Non-traditional room. No flies, no wings. No seats, even. The kids sat on the floor. The set consisted of an 10' tall scaff tower stage left and one stage right. A couple of pieces of pipe ran across the top from one to the other. Flying was achieved by ropes tied to the pipes and hanging down, ending in a foot loop. When someone needed to fly they put their foot in the loop and swung. Peter's was special. No foot loop but a tire. A real car tire. (small car). Whenever Peter flew he (she) sat in the tire. The kids ate it up. We played a couple of extra weekends. I've done a lot of really cool stuff in my career but this still ranks very high on my list of great moments. It's about the show, not the effects. The director, a young woman named Temmie (?) understood that. The entire showed played to the theme of letting the kids use their imagination, not have one forced upon them. It was, to say the least, an extraordinary experience. Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile On 1/28/07 1:26 PM, "Brian Munroe" wrote: >> In the end, as fond as I am of Theatre Technology i rather dislike >> theatre that >> is dependent upon it....I am positive you could do a beautiful production of >> Peter Pan without any technological solution to flying at all, that's why >> they >> call it the 'willing suspension of disbelief' > > Peter Pan without flying would be akin to a Nutcracker without a > Christmas tree or a Mother Ginger. ------------------------------ Message-Id: <45BCA411.1E41.009F.0 [at] auburn.edu> Date: Sun, 28 Jan 2007 13:24:33 -0600 From: "Adriane Bennett" Subject: The Deep End of the Metamorphoses Pool Fellow Listers: We are getting ready to do a production of "Metamorphoses" and I'd love to hear any helpful hints and pitfalls to stay away from that any of you have encountered. As soon as I get an approved design, I'll post dimensions and see if anyone has a liner they'd like to rent/sell/give (pay it forward?). Thanks in advance for all the tips! Adriane From Jonathan Deull Adriane Bennett Technical Director Auburn University Theatre Department 334-844-6620 344-844-4939 (fax) ------------------------------ Message-ID: <45BCFE18.4000500 [at] fuse.net> Date: Sun, 28 Jan 2007 14:48:40 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: The Deep End of the Metamorphoses Pool References: In-Reply-To: Adriane Bennett wrote: > Fellow Listers: > We are getting ready to do a production of "Metamorphoses" and I'd love > to hear any helpful hints and pitfalls to stay away from that any of you > have encountered. As soon as I get an approved design, I'll post > dimensions and see if anyone has a liner they'd like to rent/sell/give > (pay it forward?). > Thanks in advance for all the tips! One word of warning... Water is 64 lbs/cu. ft This adds up VERY quickly. Be certain your floor and staging can handle the weight. Stuart ------------------------------ Message-ID: <45BCFF5F.9050208 [at] fuse.net> Date: Sun, 28 Jan 2007 14:54:07 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: All the Montclair students References:

In-Reply-To: Don Taco wrote: > And, if you have a 9'x12' dirty > scrap of ragged scrim that you might be thinking of tossing out, mail me > the price, please. I end up replacing a lot of scrims, Are you looking for Black or White? If your need is not immediate I can get something in the mail to you for free as soon as one passes my way. We are also doing a project in a few months which will require covering some very irregular frames in scrim, there may be offcuts near this size. Stuart ------------------------------ Message-Id: <45BCA7DD.1E41.009F.0 [at] auburn.edu> Date: Sun, 28 Jan 2007 13:40:45 -0600 From: "Adriane Bennett" Subject: Re: The Deep End of the Metamorphoses Pool References:

In-Reply-To: We are waiting for the structural engineer to give us the weight load capacity of the stage floor. One of the reasons we don't have an approved design as of yet. You'd think they'd have figured out whether or not the stage could handle it before making that choice, but when have we ever seen Artistic Directors think about those things. Adriane Bennett Technical Director Auburn University Theatre Department 334-844-6620 344-844-4939 (fax) >>> Stuart Wheaton 1/28/2007 1:48 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Adriane Bennett wrote: > Fellow Listers: > We are getting ready to do a production of "Metamorphoses" and I'd love > to hear any helpful hints and pitfalls to stay away from that any of you > have encountered. As soon as I get an approved design, I'll post > dimensions and see if anyone has a liner they'd like to rent/sell/give > (pay it forward?). > Thanks in advance for all the tips! One word of warning... Water is 64 lbs/cu. ft This adds up VERY quickly. Be certain your floor and staging can handle the weight. Stuart ------------------------------ Message-Id: <45BCA849.1E41.009F.0 [at] auburn.edu> Date: Sun, 28 Jan 2007 13:42:33 -0600 From: "Adriane Bennett" Subject: Re: How old ARE you people anyway? References:

In-Reply-To: Oh now, As a born and reared Southern Belle, my parents have graciously accepted my chosen career as TD. While my mother still insists upon never buying me power tools (she claims she should be buying me china and silver), she has, however, raised me to be a lady. Now my mouth might have some sailor tendencies, I can still be the ever demure Southern lady that knows what all the forks are for and how to be a gracious hostess. Even with the IASTE brothers. Adriane Bennett Technical Director Auburn University Theatre Department 334-844-6620 344-844-4939 (fax) >>> "Paul Schreiner" 1/27/2007 11:57 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > A "lady" never reveals her age... With all due respect...and with much consideration of the fact that you are a pretty unique individual... I've never known any "ladies" who worked backstage. ------------------------------ Date: Sun, 28 Jan 2007 11:43:53 -0800 (PST) From: Michael Heinicke Subject: Re: flying people-why? In-Reply-To: Message-ID: <924909.776.qm [at] web82213.mail.mud.yahoo.com> --- Brian Munroe wrote: > Peter Pan without flying would be akin to a > Nutcracker without a > Christmas tree or a Mother Ginger. The Nutcracker I toured with for two months didn't have a Mother Ginger and I never heard any compalaints. It was a Russian dance company so they, as apparently most Russians do, had a different perspective on Nutcracker than we Americans. As always, it's how you look at it. I could see a Peter Pan without flying. It would different, but the story could still be told. And I am a developing aerial rigger, so I am always interested in new opportunities to fly people. Mike Heinicke ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 14:50:23 -0500 From: "Brian Munroe" Subject: Re: Line-set compensator diagram/picture? In-Reply-To: References: On 1/28/07, Stephen Lee wrote: > Can anyone point me to a diagram or picture of a line-set compensator? I posted some pictures at http://tinyurl.com/28gwwm. The picture of the locking rail also has some motorized arbors that are roller chain driven, so don't get confused by all the chain. Look at set 5 for the compensator chain. This particular system has the roller chain attached to the bottom of the arbor. The roller chain then runs around an idler sprocket mounted on the floor and up behind the t-track. At a certain point up the rear of the t-track, the roller chain ends and is attached to an 1/8" cable. This 1/8" cable then runs over a sheeve mounted either behind and just under the headblock. The 1/8" cable is then attached to the top of the arbor. It is like a hand-line on the back of the arbor. I have seen the same design using larger diameter cable instead of the roller chain. I have also seen a loop of chain used, with one end of the chain attached to the bottom of the arbor and the other end of the chain attached to the underside of the toe rail on the weight floor. I have heard of, but never seen, chain attached to the bottom of an arbor and piled-up in a bucket under the arbor. Hope that helps Brian Munroe bpmunroe [at] gmail.com ------------------------------ In-Reply-To: References: Message-Id: <87ea66400f11c29c7a03997787cbfa39 [at] jamesf.com> From: James Feinberg Subject: Re: Slick Surfaces - OT Date: Sun, 28 Jan 2007 11:50:37 -0800 I'll third the suggestion of the dashboard grip material. I've had a piece in my car for several years and it continues to hold on to things without catching dust and dirt. If you were to glue the back of the material to the back of the remote, I think it might work great. This isn't the model I have, but here's an example: http://www.batteries.com/productprofile.asp?appid=330287 --James Feinberg San Diego, CA On Jan 28, 2007, at 9:40 AM, Stephen Rees wrote: > We just purchased a new TV remote control for my father-in-law who has > limited grasping function in his only usable hand. The buttons are > good and > large and he can manipulate them OK. The problem is the very slick > surface > of the case which causes him to loose the thing with great regularity. > > Anybody have a suggestion for a coating that might be applied to the > case to > "tackify" it and make it easier to grasp without impairing > functionality. ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Sun, 28 Jan 2007 15:07:12 EST Subject: Re: How old ARE you people anyway? _paulschreiner42 [at] gmail.com_ (mailto:paulschreiner42 [at] gmail.com) writes: << With all due respect...and with much consideration of the fact that you are a pretty unique individual... I've never known any "ladies" who worked backstage. >> Paul, Come to Appleton, WI. I'll introduce you to many. Our IA local has always had women stagehands - not only wardrobe/dressers, but stagehands who do it all. I've even worked in heels and a skirt, all black of course. Kristi ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Sun, 28 Jan 2007 15:12:31 EST Subject: Re: Flying people jonares [at] hevanet.com writes: << I'll vouch for that. I'll even offer to be a material witness, with Kristi. (Well, not the nursing part. Not Kristi either, maybe... but maybe she has additional insights to the underpayment of prostitutes... not that I'm suggesting anything, but she does know the Wikipedia entries....) ;) >> The only nursing I know much about is the mom-feeding-baby kind. Kristi ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 28 Jan 2007 20:18:01 GMT Subject: Peter Pan - flying people - why? Message-Id: <20070128.121844.8266.1161300 [at] webmail37.lax.untd.com> Now that we have touched upon some of the legal issues of flying as a = component in the presentation of 'Peter Pan', I wish to offer this: There is another collateral issue that sets Peter Pan apart from all = other shows. We have been exposed to the flying aspect, and that = issue has been discussed thoroughly in this space, so let me broach = another issue that I find interesting. According to my research, = Peter Pan is the ONLY work in the History of Mankind that has had its = expired copyright revived from the dead. This is quite a significant = issue, as many other works have had their copyrights extended prior = to expiration, but only Peter Pan has had its copyright resurrected. = Why is this significant? Because the performance royalties we and our = institutions pay go to the Great Ormond Street Hospital for Sick = Children, which is perhaps the most compelling charity in the world. JM Barrie gave them his copyright to Peter Pan. So, please pay your = royalties, even if you can get away with not doing so. The money does = NOT go to Disney, and I expect that the US Congress will re-extend = the Copyright when it expires in the US in 2023. The European Union = will most likely re-extend the copyright prior to the expiration of = its extension this year. British Parliament extended the copyright in = perpetuity. These governmental acts will most likely remain a caveat = that you might explain anytime you discuss copyright with a colleague. /s/ Richard ------------------------------ From: MartySrq [at] aol.com Message-ID: Date: Sun, 28 Jan 2007 15:25:07 EST Subject: Re: Pre show announcements My favorite was the show that announced: "If you have a cell phone or pager please set it to vibrate and put it somewhere interesting." The last few summers in the UK I was impressed with this approach - about the time the SM is calling places a loud cell phone ring, one of the most common ones, is heard. A few seconds later another, then another. By this time everyone has either gone for their phone or got the idea and is laughing while reaching to shut theirs off. Tried it this summer at a small theater company I light and it worked like a charm. Marty ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 28 Jan 2007 20:28:46 GMT Subject: Re: How old ARE you people anyway? Message-Id: <20070128.122850.8266.1161324 [at] webmail37.lax.untd.com> Dear Paul, IA Local 33 in LA has female Stagehands. No big deal. There are also = lots of females in more than 50 other IA locals in California. /s/ Richard _____________________ << With all due respect...and with much consideration of the fact = that you are a pretty unique individual... I've never known any "ladies" who worked backstage. >> Paul, = Come to Appleton, WI. I'll introduce you to many. Our IA local has = always had women stagehands - not only wardrobe/dressers, but = stagehands who do it all. I've even worked in heels and a skirt, all = black of course. Kristi = ------------------------------ Message-Id: In-Reply-To: References: Date: Sun, 28 Jan 2007 15:29:18 -0500 From: Rigger Subject: Re: How old ARE you people anyway? At 3:07 PM -0500 1/28/07, MissWisc [at] aol.com wrote: >_paulschreiner42 [at] gmail.com_ (mailto:paulschreiner42 [at] gmail.com) writes: ><< With all due respect...and with much consideration of the fact that you >are a pretty unique individual... >I've never known any "ladies" who worked backstage. >> > >Paul, > >Come to Appleton, WI. I'll introduce you to many. Our IA local has always >had women stagehands - not only wardrobe/dressers, but stagehands who do it >all. I've even worked in heels and a skirt, all black of course. There's a difference between "women" and "ladies," Kristi, just as all males aren't necessarily "gentlemen." -- Dave Vick rigger [at] tds.net There are nights when the wolves are silent, and only the moon howls. ------------------------------ From: MartySrq [at] aol.com Message-ID: Date: Sun, 28 Jan 2007 15:37:19 EST Subject: Re: Flying people Delbert wrote (snipped): "OK, it has been a long day and I am tied. More tomorrow when I am rested " I know it's a typo but I hope you were tied with swage fittings and not Crosby's. Marty ------------------------------ Message-ID: <7b8450b90701281310n3b128b20y66b8737f6ae024bb [at] mail.gmail.com> Date: Sun, 28 Jan 2007 13:10:58 -0800 From: Myself Cc: sdwheaton [at] fuse.net Subject: Re: The Deep End of the Metamorphoses Pool In-Reply-To: References:

On 1/28/07, Stuart Wheaton wrote: > One word of warning... > > Water is 64 lbs/cu. ft This adds up VERY quickly. Be certain your > floor and staging can handle the weight. > > Stuart > One theatre in Arizona solved that problem by draining all of their water onto the stage floor, and into the basement level. On the plus side, they got a new stage floor.... Water on stage can be very tricky and insidious. Without care, small bits of it will leak anywhere, and large amounts can be catastrophic. ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 16:13:30 -0500 From: "Brian Munroe" Subject: Re: Line-set compensator diagram/picture? In-Reply-To: References:

On 1/28/07, Rigger wrote: > The reason roller chain is used is that it is generally quieter than > conventional chain, and generally doesn't tend to whip around as > much. The key word, of course, is "generally." Dave, in the systems that you have used, where did the roller chain go when the arbor was down? Brian Munroe bpmunroe [at] gmail.com ------------------------------ From: Bruce Cooper Organization: LED Worklight Systems, LLC. Subject: Re: Slick Surfaces - OT Date: Sun, 28 Jan 2007 03:19:27 -0600 References: In-Reply-To: Message-Id: <200701280319.27903.bruce [at] ledworklights.com> Clear Bathtub silicone. More of a 'grippy' surface than sticky, but good. On Sunday 28 January 2007 11:40, Stephen Rees wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We just purchased a new TV remote control for my father-in-law who has > limited grasping function in his only usable hand. The buttons are good > and large and he can manipulate them OK. The problem is the very slick > surface of the case which causes him to loose the thing with great > regularity. > > Anybody have a suggestion for a coating that might be applied to the case > to "tackify" it and make it easier to grasp without impairing > functionality. > > TIA > > Steve Rees -- LED Worklight Systems, LLC http://ledworklights.com 847-445-2668 ------------------------------ Date: Sun, 28 Jan 2007 16:28:34 -0500 Subject: Re: The Deep End of the Metamorphoses Pool From: Steve Shelley Message-ID: In-Reply-To: And trying to keep it frozen doesn't make it any easier. Or lighter. On 1/28/07 4:10 PM, "Myself" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On 1/28/07, Stuart Wheaton wrote: >> One word of warning... >> >> Water is 64 lbs/cu. ft This adds up VERY quickly. Be certain your >> floor and staging can handle the weight. >> >> Stuart >> > > One theatre in Arizona solved that problem by draining all of their > water onto the stage floor, and into the basement level. On the plus > side, they got a new stage floor.... > > Water on stage can be very tricky and insidious. Without care, small > bits of it will leak anywhere, and large amounts can be catastrophic. -- Steve Shelley SoftSymbols Designer MrTemplate [at] Earthlink.net www.fieldtemplate.com ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 16:28:58 -0500 From: "Paul Schreiner" Subject: Re: How old ARE you people anyway? In-Reply-To: References:

> >I've never known any "ladies" who worked backstage. >> > > > >Paul, > > > >Come to Appleton, WI. I'll introduce you to many. Our IA local has always > >had women stagehands - not only wardrobe/dressers, but stagehands who do it > >all. I've even worked in heels and a skirt, all black of course. > > > There's a difference between "women" and "ladies," Kristi, just as > all males aren't necessarily "gentlemen." I should've phrased my statement better. Can I call a mulligan and have another shot at it? Let's say, in all my experience, none of the female stagehands I've worked with have ever claimed to be a "lady". (Except, of course, with a slightly-sarcastic tone of voice, usually heard immediately after an earth-shaking belch or something of the sort. But that's another story...) Zat better? Does that get me off the hook? ;) ------------------------------ Date: Sun, 28 Jan 2007 16:36:58 -0500 Subject: Re: Peter Pan - flying people - why? From: Bill Sapsis Message-ID: In-Reply-To: Richard. It can be easy to forget things like this when we're all about getting a show up or trying to make one deadline or another. Thank you for reminding us. Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile On 1/28/07 3:18 PM, "ladesigners [at] juno.com" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Now that we have touched upon some of the legal issues of flying as a > component in the presentation of 'Peter Pan', I wish to offer this: > > There is another collateral issue that sets Peter Pan apart from all > other shows. We have been exposed to the flying aspect, and that > issue has been discussed thoroughly in this space, so let me broach > another issue that I find interesting. According to my research, > Peter Pan is the ONLY work in the History of Mankind that has had its > expired copyright revived from the dead. This is quite a significant > issue, as many other works have had their copyrights extended prior > to expiration, but only Peter Pan has had its copyright resurrected. > > Why is this significant? Because the performance royalties we and our > institutions pay go to the Great Ormond Street Hospital for Sick > Children, which is perhaps the most compelling charity in the world. > > JM Barrie gave them his copyright to Peter Pan. So, please pay your > royalties, even if you can get away with not doing so. The money does > NOT go to Disney, and I expect that the US Congress will re-extend > the Copyright when it expires in the US in 2023. The European Union > will most likely re-extend the copyright prior to the expiration of > its extension this year. British Parliament extended the copyright in > perpetuity. These governmental acts will most likely remain a caveat > that you might explain anytime you discuss copyright with a colleague. > > /s/ Richard > > ------------------------------ Message-ID: <45BD1C7B.8030200 [at] fuse.net> Date: Sun, 28 Jan 2007 16:58:19 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: All the Montclair students References: <11794677.1169942638327.JavaMail.root [at] m41>

In-Reply-To: Kevin Lee Allen wrote: > Is it near Londinium? Ah, they finally named element 110? ------------------------------ Message-Id: <7.0.1.0.2.20070129084034.06b218c8 [at] kilowatt.com.au> Date: Mon, 29 Jan 2007 08:46:45 +1100 From: Andy Ciddor Subject: Re: how old?? In-Reply-To: References:

At 04:56 29.01.2007, Charlie Richmond wrote: >So now we know who's at the big end and who's at the little one - >or, who's the Mac and who's the PC person. It's been a while since I last wrote much in assembly language, but aren't big-endian and little-endian conventions about byte (octet) order in multi-byte words, rather than bit order within the bytes? Andy ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Sun, 28 Jan 2007 17:01:31 EST Subject: Re: Pre-show announcement... have I missed anything? Last night in the pre-show announcement for a fundraiser variety show sponsored by one of our local hospitals, included this: "Please turn your cell phones and pagers off unless you are on call because one of the vasectomies you performed didn't work and you might need to go deliver the baby!" I second the "strictly prohibited" line when it comes to photography or recording things. Seriously... make the "turn off your cell phones pagers/etc." part the LAST thing you say because if you give that instruction earlier, the folks will be concentrating on doing that task rather than listening to what you are saying. Also having (spot) lights or ushers indicate where the emergency exits are as part of that line (think pre-flight safety announcement on an airplane) helps folks to get it. You'd be surprised how many people don't know left from right. Kristi ------------------------------ Message-ID: <45BD1EE5.3040301 [at] dreampossible.ca> Date: Sun, 28 Jan 2007 17:08:37 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Flying people References: In-Reply-To: Stephen Rees wrote: > Am coming to this kind of late in the discussion but I would certainly > hesitate to select a production where flying effects were required knowing > that there were issues with paying for a company with appropriate skills and > equipment to safely create the effects. Agreed, but... My point (and I believe Stuart's as well) was that it is quite easy to infer from many of the messages "You must go with Foy because they're the best." Surely there must be other companies with competence in flying people, with prices that are more likely to be within the theatre company's budget. -- Jim Hyslop ------------------------------ Message-ID: Date: Sun, 28 Jan 2007 17:09:52 -0500 From: "Delbert Hall" Subject: Re: Flying people In-Reply-To: References: Yes Marty, you know how I feel about cable clips ;-) It was a long day. -Delbert On 1/28/07, MartySrq [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Delbert wrote (snipped): "OK, it has been a long day and I am tied. More > tomorrow when I am rested " > > I know it's a typo but I hope you were tied with swage fittings and not > Crosby's. > > Marty > -- Delbert L. Hall ETCP Certified Rigger - Theatre 423-773-4255 ------------------------------ Message-Id: In-Reply-To: References:

Date: Sun, 28 Jan 2007 17:10:55 -0500 From: Rigger Subject: Re: Line-set compensator diagram/picture? At 4:13 PM -0500 1/28/07, Brian Munroe wrote: >> The reason roller chain is used is that it is generally quieter than >> conventional chain, and generally doesn't tend to whip around as >> much. The key word, of course, is "generally." > > Dave, in the systems that you have used, where did the roller chain go > when the arbor was down? There was a smallish cloth bag, like a Klein chain bag, attached to a strut spanning the rail pit beneath the bottom stop, near the floor block. (In fact, a *lot* like a Klein chain bag, as I recall...) -- Dave Vick rigger [at] tds.net I almost don't feel the way I do. ------------------------------ In-Reply-To: References: Message-Id: <5DF7A788-FCC8-4C7D-86F8-A12A13D5977D [at] gmail.com> From: Andrew Vance Subject: Re: Pre-show announcement... have I missed anything? Date: Sun, 28 Jan 2007 17:15:26 -0500 On 28 Jan, 2007, at 17:01 , MissWisc [at] aol.com wrote: > Also having (spot) lights or ushers indicate where the emergency > exits are > as part of that line (think pre-flight safety announcement on an > airplane) > helps folks to get it. You'd be surprised how many people don't > know left from > right. In Rhode Island, I think its law now that pointing out emergency exits and encouraging patrons to locate the one nearest them are part of the pre-show announcement. -- Sincerely, Andrew Vance Lighting Designer atvanceld [at] gmail.com ------------------------------ Message-Id: In-Reply-To: References:

Date: Sun, 28 Jan 2007 17:17:38 -0500 From: Rigger Subject: Re: Pre-show announcement... have I missed anything? At 5:15 PM -0500 1/28/07, Andrew Vance wrote: >In Rhode Island, I think its law now that pointing out emergency >exits and encouraging patrons to locate the one nearest them are >part of the pre-show announcement. Especially in rock clubs, I should think. -- Dave Vick rigger [at] tds.net Since 1983, more than 30 people have been killed in Post Offices. Ya wanna know why? Because the price of postage keeps changing. ------------------------------ You are subscribed as stagecraftlist [at] theatrical.net End of Stagecraft Digest #1115 ******************************