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Subject: Stagecraft Digest #176
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #176

 1. Bendy Board
    by "Wayne Rasmussen" <rasmuw [at] blair.edu>
 2. Re: Life as a Scenic Artist
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
 3. ???Car Bombs???
    by Michael Powers <mfpowers [at] theater.umass.edu>
 4. Re: Fire as Stage Illumination
    by Stephen Litterst <slitterst [at] ithaca.edu>
 5. Re: Fire as Stage Illumination
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 6. Crimp vs. Solder?
    by "Joe Golden" <Joe [at] elslights.com>
 7. Re: repeating history
    by "Karl G. Ruling" <kruling [at] esta.org>
 8. Re: USITT Tech Expo
    by Loren Schreiber <lschreib [at] mail.sdsu.edu>
 9. Re: repeating history
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
10. searching for hoops
    by "pearsontony" <pearsontony [at] cox.net>
11. Re: searching for hoops
    by Dale Farmer <dale [at] cybercom.net>
12. Re: searching for hoops
    by doran [at] bard.edu
13. Re: Crimp vs. Solder?
    by FrankWood95 [at] aol.com
14. Re: searching for hoops
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
15. Re: searching for hoops
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
16. Re: searching for hoops
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
17. Job Notice--Sound Design position, Ithaca College
    by John Bracewell <jbrace [at] lightlink.com>
18. Re: Job Notice--Sound Design position, Ithaca College
    by Stephen Litterst <slitterst [at] ithaca.edu>
19. Re: life as a scenic artist (what's fair)
    by "Riter, Andrew (Head Ltg)" <chanlights [at] exchange.ubc.ca>
20. Re: Fire as Stage Illumination
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
21. Re: Fire as Stage Illumination
    by FrankWood95 [at] aol.com
22. Re: A cautionary tale
    by Fred Fisher <fwfisher [at] wisc.edu>
23. Re: searching for hoops
    by Pat Kight <kightp [at] peak.org>
24. Re: searching for hoops
    by Pat Kight <kightp [at] peak.org>
25. Re: Job Notice--Sound Design position, Ithaca College
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
26. Re: Life as a Scenic Artist
    by CB <psyd [at] cox.net>
27. Re: Life as a Scenic Artist
    by CB <psyd [at] cox.net>
28. Re: Fire as Stage Illumination
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
29. Campfires on Stage
    by CB <psyd [at] cox.net>
30. Bizarre Multiple Catastrophic Truss Failure / rfc (long)
    by "Cyr, Dale" <Dale.Cyr [at] getronics.com>
31. Shadow Backdrops
    by "Shoaib Iqbal" <shoaib.iqbal [at] lokpunjab.org>

*** 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: <001101c4bb66$8d05c380$0617000a [at] blair.edu>
From: "Wayne Rasmussen" <rasmuw [at] blair.edu>
Subject: Bendy Board
Date: Tue, 26 Oct 2004 10:17:39 -0400

Our local lumberyard in Blairstown, NJ has approximately 45 sheets of 3/8"
bendy board for $11 per sheet.  The grain is in the direction of the 8'
length.  The sheets are not perfect, hence the low price, but the damage is
confined to the corners.

If anyone has any interest, I'd be happy to buy the material and store it
until you are able to pick it up.  Please contact me off-list.

Wayne Rasmussen
Blair Academy


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

Message-ID: <004301c4bb68$bd8eecf0$0202a8c0 [at] MyLastPC>
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
References: <list-4804677 [at] prxy.net>
Subject: Re: Life as a Scenic Artist
Date: Tue, 26 Oct 2004 04:33:19 -1000

<<I'd have to ask why limit this comment to non-union shops?

It reveals obvious untrue assumptions; Union members also often barely
make a living wage, and "suffer" just as much for their art as any of
us. Union members (of which I am one- in two different unions...) by
far work just as hard and are just as invested in the final product as
any non-union house. And no more of them drive BMW's and dress up any
better than stagehands in other situations.

Being a member of the union does not guarentee anybody a paycheck or a
living wage- granted that they try to get their members closer than in
non-union situations.

I just hate to see such blanket assumptions that are not true
perpetuated.>>

Whoa... read what I wrote again.  I mentioned non-union house because you
can't organize (my suggested solution to mangerial abuse) one that already
is.  This was NOT about union vs. non-union quality or dedication.  I'll let
somebody else deal with that can of worms.

My post was about management working dedicated salaried employees into the
ground.  Management can also work union employees into the ground but it's
going to cost them $$.

I am a member of IATSE and have been for about 14 years.  As far as I know,
none of my union brothers and sisters is a salaried member of a theatre
organization under union contract.  I'm not even sure there is such an
arrangement.

Try saying to a union crew, "Okay guys, we gotta finish this install tonight
so we're gonna work 12+ hours today... but we're only getting paid for 8".
See how well that works.

Workers should be fairly compensated for their labor.

The last show I did as technical director for a local theatre, I worked 19
hours / day for 3 weeks straight.  I collapsed the day after opening night
and it took me 2 weeks to recover.  I had a meeting with "management" and
told them I could no longer design, technical direct and be master carpenter
on shows anymore as I didn't want to physically damage myself anymore.

Their response was modify my job description by adding the mandatory design
of two shows (their choice) per season, perform building maintenance, and to
do fund raising... plus the nebulous all-inclusive "other duties as
assigned".

Buh bye.

Laters,

Paul

"My mother is not shy," Tom mumbled.


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

Date: Tue, 26 Oct 2004 10:27:24 -0400
From: Michael Powers <mfpowers [at] theater.umass.edu>
Subject: ???Car Bombs???
Message-id: <417E5ECC.1020800 [at] theater.umass.edu>

"Paul Guncheon" <paul.guncheon [at] verizon.net> wrote:

Re: Explosive devices:
<<Is "yikes" in order, or is that too bombastic? >>

Hmmm!!  As my secondary MOS in the Marine Corps was Demolitions, I think 
I can handle this!

Michael

Michael Powers, Technical Director
UMass Amherst
112 FAC West
Amherst, Ma. 01003

413-545-6821    Voice
413-577-0025 Fax

mfpowers [at] theater.umass.edu <mailto:mfpowers [at] theater.umass.edu>
mptecdir [at] aol.com <mailto:mptecdir [at] aol.com>




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

Date: Tue, 26 Oct 2004 10:43:52 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Fire as Stage Illumination
Message-id: <417E62A8.ED0D85B5 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4774101 [at] prxy.net> <list-4801934 [at] prxy.net>

Stuart Wheaton wrote:
> ---------------------------------------------------
> Paul Schreiner wrote:
> > Well, color me clueless.  All this time, and it never even occurred to
> > me til now that Frank was a potential terrorist! ;)
> >
> 
> I think we are all assumed to be potential 'terrists', Isn't
> that why Ashcroft wants to check my library card and break
> into my house without telling me?

Actually, that's just your library card and house.  The rest of us
passed our clearance checks.


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

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

Subject: RE: Fire as Stage Illumination
Date: Tue, 26 Oct 2004 10:49:30 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AD2B [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> > I think we are all assumed to be potential 'terrists',=20
> Isn't that why=20
> > Ashcroft wants to check my library card and break into my house=20
> > without telling me?
>=20
> Actually, that's just your library card and house.  The rest=20
> of us passed our clearance checks.

But only cuz of the natural bureaucratic inefficiency that allowed us to
slip through the cracks...

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

Subject: Crimp vs. Solder?
Date: Tue, 26 Oct 2004 07:58:13 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7AC8 [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

Here is a link to a report on bad crimp connections on a manufactured
product.  Very interesting as there are lots of connections that could
be crimped in theatre.

http://cs.pennnet.com/articles/article_display.cfm?article_id=3D214068

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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Tue, 26 Oct 2004 11:06:07 -0400
Subject: Re: repeating history
Message-ID: <417E2F9F.15320.3113686 [at] localhost>
In-reply-to: <list-4770568 [at] prxy.net>

> 
> And there it is.  Who was it that said, "Those who do not learn from
> history are condemned to repeat it"?
> 


George Santayana in The Life of Reason, volume 1, chapter 12.

He actually wrote, "Those who cannot remember the past are condemned 
to repeat it." 

I'm sure some high school counselor has said, "Those who do not learn 
from History are condemned to repeat it."  One of them must have, 
somewhere, to some failing student.



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

Message-Id: <6.1.1.1.2.20041026084325.02fa9730 [at] mail.sdsu.edu>
Date: Tue, 26 Oct 2004 08:44:11 -0700
From: Loren Schreiber <lschreib [at] mail.sdsu.edu>
Subject: Re:USITT Tech Expo
In-Reply-To: <list-4804677 [at] prxy.net>
References: <list-4804677 [at] prxy.net>

Dear Friends and Colleagues,

The deadline for entering Tech Expo, November 19th, is fast approaching. If 
you are intending to enter the Tenth Biennial Tech Expo, then please click 
on the link below for the entry form and instructions about how to enter. 
Please note: the article, entry form and payment to USITT are all that is 
needed by the deadline; shipment of the actual exhibit happens after 
notification of acceptance on December 31.

http://www.usitt.org/activities/awards/TechExpo.pdf

Thank you for your interest in Tech Expo,

The Tech Expo Committee


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

Date: Tue, 26 Oct 2004 17:12:45 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: repeating history
In-Reply-To: <list-4806607 [at] prxy.net>
Message-ID: <Pine.LNX.4.60.0410261711410.1342 [at] viscount.richmondsounddesign.com>
References: <list-4806607 [at] prxy.net>

On Tue, 26 Oct 2004, Karl G. Ruling wrote:

> I'm sure some high school counselor has said, "Those who do not learn
> from History are condemned to repeat it."  One of them must have,
> somewhere, to some failing student.

I hear the counselors at Yale have it up on their wall... ;-)

Charlie

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

Message-ID: <003f01c4bb77$bae18260$b9810144 [at] cx2347811b>
From: "pearsontony" <pearsontony [at] cox.net>
References: <list-4804677 [at] prxy.net>
Subject: searching for hoops
Date: Tue, 26 Oct 2004 12:20:38 -0400

Hi all,
I'm lookiing for ideas.  I need to acquire or make several large-ish (6' 
diameter) hoops that could be lightweight enough for a person to carry and 
move onstage.  They would serve as portals for the actors  to walk through. 
Think a really large, light-weight hoola-hoop. Please email me in private if 
you have any ideas on where to acquire something that could work for this 
purpose.

Thanks,
Tony 



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

Message-ID: <417E7E7A.C1669685 [at] cybercom.net>
Date: Tue, 26 Oct 2004 12:42:34 -0400
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: searching for hoops
References: <list-4804677 [at] prxy.net> <list-4807182 [at] prxy.net>



pearsontony wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hi all,
> I'm lookiing for ideas.  I need to acquire or make several large-ish (6'
> diameter) hoops that could be lightweight enough for a person to carry and
> move onstage.  They would serve as portals for the actors  to walk through.
> Think a really large, light-weight hoola-hoop. Please email me in private if
> you have any ideas on where to acquire something that could work for this
> purpose.
>
> Thanks,
> Tony

   You could try some of the lightweight irrigation tubing from your local
garden center or Lowe's.  Make it a little more stiff by inserting some
lengths of electricians fish tape inside of it.

    --Dale



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

Message-ID: <1098808640.417e7d40f1ff3 [at] webmail.bard.edu>
Date: Tue, 26 Oct 2004 12:37:20 -0400
From: doran [at] bard.edu
Subject: Re: searching for hoops
References: <list-4804677 [at] prxy.net> <list-4807182 [at] prxy.net>
In-Reply-To: <list-4807182 [at] prxy.net>

Quoting pearsontony <pearsontony [at] cox.net>:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi all,
> I'm lookiing for ideas.  I need to acquire or make several large-ish (6' 
> diameter) hoops that could be lightweight enough for a person to carry 
and 
> move onstage.  They would serve as portals for the actors  to walk 
through. 
> Think a really large, light-weight hoola-hoop. Please email me in private if
> 
> you have any ideas on where to acquire something that could work for 
this 
> purpose.
> 
> Thanks,
> Tony 
> 
> 



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

From: FrankWood95 [at] aol.com
Message-ID: <1ab.2acfb0ef.2eafe2a6 [at] aol.com>
Date: Tue, 26 Oct 2004 13:25:58 EDT
Subject: Re: Crimp vs. Solder?

In a message dated 26/10/04 15:59:07 GMT Daylight Time, Joe [at] elslights.com 
writes:

> Here is a link to a report on bad crimp connections on a manufactured
>  product.  Very interesting as there are lots of connections that could
>  be crimped in theatre.
>  
>  http://cs.pennnet.com/articles/article_display.cfm?article_id=214068

Very interesting. I have had a lot to do with crimped connectors, mostly at 
audio line levels and for video and RF signals. We always found them very 
reliable if, and only if, the proper crimp tools were used with the proper dies. 
The only trouble is that there are so many different ones. I have at least five, 
and there are many, many more. But all the wiring from our dimmer racks to 
the outlets uses crimped connections, and we have had no trouble in many years.

I have read that crimping, or even using screw terminals on pre-soldered wire 
is a bad idea. Over time and under constant pressure, the soft alloy creeps, 
and leaves you with a poor joint.



Frank Wood

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

Subject: RE: searching for hoops
Date: Tue, 26 Oct 2004 13:50:33 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AD2C [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> > I'm lookiing for ideas.  I need to acquire or make several=20
> large-ish=20
> > (6'
> > diameter) hoops that could be lightweight enough for a=20
> person to carry and
> > move onstage. =20

How 'bout some thin (1/2" or so) PVC tubing...using short lengths (no
more than 6") of dowel rod in a diameter to fit almost-snugly inside,
and a bit of Gorilla Glue, you can piece them together in a pretty
decent circle.  I did this last year for a PVC circle (circular scrim,
anyone?) that was something like 12' in diameter, using 6 segments of
pipe...

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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF09B19FFA [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: searching for hoops
Date: Tue, 26 Oct 2004 14:13:18 -0400

3/4" or 1" pvc pipe.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: pearsontony [mailto:pearsontony [at] cox.net] 
Sent: Tuesday, October 26, 2004 12:21 PM
To: Stagecraft
Subject: searching for hoops

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

Hi all,
I'm lookiing for ideas.  I need to acquire or make several large-ish (6' 
diameter) hoops that could be lightweight enough for a person to carry and 
move onstage.  They would serve as portals for the actors  to walk through. 
Think a really large, light-weight hoola-hoop. Please email me in private if

you have any ideas on where to acquire something that could work for this 
purpose.

Thanks,
Tony 


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

Message-ID: <417E947B.3060209 [at] fredonia.edu>
Date: Tue, 26 Oct 2004 14:16:27 -0400
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Subject: Re: searching for hoops
References: <list-4804677 [at] prxy.net> <list-4807182 [at] prxy.net>

Tony,
You might try the grey PVC electrical conduit from your electrical 
supply shop.  Works better than the hot or cold water PVC for plumbing. 
  Comes in 10' joints with flared ends which you can cut off and join 
with an internal sleeve which can be a piece of the same diameter 
material with a slice removed from the side so that it will collapse in 
diameter.  You can join it with a solvent adhesive or screws. I used 
this process to create several fabric covered windows. It was easy to 
adhere the fabric to this material with Scotch 77 spray adhesive.  HTH.
Steve Rees, TD
SUNY-Fredonia

pearsontony wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi all,
> I'm lookiing for ideas.  I need to acquire or make several large-ish (6' 
> diameter) hoops that could be lightweight enough for a person to carry 
> and move onstage.  They would serve as portals for the actors  to walk 
> through. Think a really large, light-weight hoola-hoop. Please email me 
> in private if you have any ideas on where to acquire something that 
> could work for this purpose.
> 
> Thanks,
> Tony



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

Message-Id: <5.2.0.9.0.20041026171438.00b218d0 [at] pop.lightlink.com>
Date: Tue, 26 Oct 2004 17:16:07 -0400
From: John Bracewell <jbrace [at] lightlink.com>
Subject: Job Notice--Sound Design position, Ithaca College
In-Reply-To: <list-4807099 [at] prxy.net>
References: <list-4806607 [at] prxy.net>
 <list-4806607 [at] prxy.net>

<html>
<body>
Hello, all.&nbsp; I'm posting a job advertisement from Ithaca
College.&nbsp; This will be to fill the position that I currently hold,
inasmuch as I am retiring at the end of this academic year.&nbsp; Please
note that the job is a full-time sound position.&nbsp; Although the
successful candidate will be asked to teach in other areas, this will not
be a combination lighting/sound or carpentry/sound position.&nbsp; We
have full-time, competent people in the other tech and design
positions.&nbsp; The secondary courses would be in related areas, for
example, a general stagecraft course for non-majors.&nbsp; Ithaca College
Department of Theatre Arts is an undergraduate pre-professional training
center that offers five degree programs in acting, musical theatre,
general drama, theatre arts management, and production arts.&nbsp;
<br><br>
I'll cross-post this to the Theatre Sound list as well.&nbsp; <br><br>
Ad copy follows.<br><br>
-- JLB<br><br>
<br>
<div align="center"><b>Assistant Professor&nbsp; Sound<br>
Department of Theatre Arts<br><br>
</b></div>
Ithaca College announces its search for an Assistant Professor&nbsp;
Sound in the Department of Theatre Arts. This full-time, tenure-eligible
appointment begins August 16, 2005. Duties: teach courses in Sound
Design, Sound Technology, and additional courses dependent upon strengths
of candidate; serve as designer of reinforcement and/or audio scoring on
up to three productions annually; supervise student sound designers,
technicians, and associated crews; and with the assistance of the
technical staff, organize, operate, and maintain the sound areas.
Qualifications: Candidates with an M.F.A. in sound design and technology
will be given preference. Those with significant professional experience
in sound design and technology will be given full consideration. Skills
in sound reinforcement for large-scale musical theatre required. Ideal
candidate will have teaching experience and a secondary theatre
technology emphasis.<br><br>
Candidates should apply online at
<a href="http://www.icjobs.org/" eudora="autourl"><font color="#0000FF"><u>www.icjobs.org</a></u></font>,
search for and select this position, and attach requested documents.
Questions about online application may be directed to the Office of Human
Resources at (607) 274-1207. Screening of applications will begin
immediately and will continue until the position is filled. <br><br>
<div align="center"><b>Ithaca College is an Affirmative Action/Equal
Opportunity Employer.&nbsp; Members of historically underrepresented
groups (including people of color, persons with disabilities, military
veterans and women) are encouraged to apply.<br>
</b></div>
</body>
</html>


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

Date: Tue, 26 Oct 2004 17:28:12 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Job Notice--Sound Design position, Ithaca College
Message-id: <417EC16C.2F78754F [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4806607 [at] prxy.net> <list-4806607 [at] prxy.net>
 <list-4809778 [at] prxy.net>

John Bracewell wrote:
> ---------------------------------------------------
> 
> Hello, all.  I'm posting a job advertisement from Ithaca College.
> This will be to fill the position that I currently hold, inasmuch as
> I am retiring at the end of this academic year.  

We've been forced to search John's position since all attempts to
clone him have failed.

Sadness.

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

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

Message-ID: <297C9E3B63B2D3119C8100508B5ED28F1601FF34 [at] exchange2.ubc.ca>
From: "Riter, Andrew (Head Ltg)" <chanlights [at] exchange.ubc.ca>
Subject: RE: life as a scenic artist (what's fair)
Date: Tue, 26 Oct 2004 14:46:57 -0700

> The people working backstage on a salary are basically treated as "the
> help" by the front of house.
> 
> The front of house working 10 - 5, while the backstage works 9a - 10p for
> less money.
> 

Just to clarify someone else's post (how's this for bad net-iquette?): I must assume this reference to front of house staff is referring to the administration staff (programmers, managers, general managers, accountants etc.)  In our theatres that I'm
familiar with, front of house staff (FOH) are the ushers, ticket takers, bar-staff, door people, concessions, coat check, and their direct manager (head FOH).  With the exception of the manager, the FOH staff (in my example) make even less per hour than
we the technicians (union or not union), and obviously work for a lot less hours than we do. (no overtime or tech period).

Andrew M. Riter
Head Lighting Technician
Chan Centre



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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Fire as Stage Illumination
Date: Tue, 26 Oct 2004 15:07:17 -0700
Message-ID: <014f01c4bba8$288e49d0$726dfea9 [at] DrDoomsComputer>
In-Reply-To: <list-4806431 [at] prxy.net>

Call and check your FBI file. You might be shocked, we theatre and
artist people, esp. from the sixties. I did. Yikes. Doom

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Website: www.riskit.com E-mail: rdavidson [at] riskit.com
====================================================
International Secondary Education Theater Safety Association (ISETSA)  -
Dedicated to the protection of every student in the performing arts.
Website: www.isetsa.org E-mail: info [at] isetsa.org
====================================================
960 E. Bonita #158, Pomona, CA 91767    Phone/Fax: (909) 625-5961
====================================================

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen
Litterst
Sent: Tuesday, October 26, 2004 7:44 AM
To: Stagecraft
Subject: Re: Fire as Stage Illumination

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

Stuart Wheaton wrote:
> ---------------------------------------------------
> Paul Schreiner wrote:
> > Well, color me clueless.  All this time, and it never even occurred
to
> > me til now that Frank was a potential terrorist! ;)
> >
> 
> I think we are all assumed to be potential 'terrists', Isn't
> that why Ashcroft wants to check my library card and break
> into my house without telling me?

Actually, that's just your library card and house.  The rest of us
passed our clearance checks.


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


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

From: FrankWood95 [at] aol.com
Message-ID: <1f4.19d5229.2eb027e1 [at] aol.com>
Date: Tue, 26 Oct 2004 18:21:21 EDT
Subject: Re: Fire as Stage Illumination

In a message dated 26/10/04 23:08:11 GMT Daylight Time, 
doomster [at] worldnet.att.net writes:

> Call and check your FBI file. You might be shocked, we theatre and
>  artist people, esp. from the sixties. I did. Yikes. Doom

Call whom?

I should find it interesting if I had one. Somewhere, buried in the archives, 
I have a British Army security clearance. I can even rember the reference 
number. But that was about forty years ago.

In that space of time, people can change. Then, I was a conformist, 
jacket-and-tie conservative. Who can tell what I have become?


Frank Wood

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

Date: Tue, 26 Oct 2004 19:19:03 -0500
From: Fred Fisher <fwfisher [at] wisc.edu>
Subject: Re: A cautionary tale
In-reply-to: <list-4797835 [at] prxy.net>
Message-id: <5.2.1.1.2.20041026185011.01a044c0 [at] wiscmail.wisc.edu>
References: <list-4776258 [at] prxy.net> <list-4776258 [at] prxy.net>

At 11:18 AM 10/25/2004 -0500, you wrote:

>Training of underpaid Rep help aside, whatever happened to common 
>sense?  That is the thing that struck me when I made that post.  Even if 
>one hadn't been trained thus: "Do not put towels around the legs of an 
>A-frame ladder, do not push it on said towels over a slippery surface and 
>do not allow the spotter to walk away" why would one do that?
>
>Apologies,
>
>Shawn Palmer

My apologies to Davin too.  It wasn't my intention to flame 
Overture.   It's a new facility and it will take a couple of  years for 
everyone to figure out how to use the space effectively. My point, that I 
should have made clearer, was that despite the amount of money spent on a 
new facility, there are places they save on expenses, usually in the tech 
area.  I hope people who are involved in the planning and construction of 
new or remodeled facilities will make their voices heard.  We are going to 
be remodeled in about a decade and I'm already making my views (my 
coworkers are doing the same) known on several suggested renovations 
suggested by an architect.

I've found that common sense and theater often are incompatible.  My bosses 
have received complaints from users that I am uncooperative or have ruined 
a show because I stopped people from doing unsafe or destructive 
actions.  I'm always surprised at user groups who come into our facility 
assuming that because they are paying rent they can do anything they want 
to the place.   I spend a lot of time explaining to the heads of the tech 
staff well before they arrive what we will do for them and what we expect 
from them.  There are times when it would be more productive for me to talk 
to a brick wall.

Fred Fisher 


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

Message-ID: <417EF897.1050509 [at] peak.org>
Date: Tue, 26 Oct 2004 18:23:35 -0700
From: Pat Kight <kightp [at] peak.org>
Subject: Re: searching for hoops
References: <list-4804677 [at] prxy.net> <list-4807182 [at] prxy.net>
In-Reply-To: <list-4807182 [at] prxy.net>

pearsontony wrote:


> Hi all,
> I'm lookiing for ideas.  I need to acquire or make several large-ish (6' 
> diameter) hoops that could be lightweight enough for a person to carry 
> and move onstage.  They would serve as portals for the actors  to walk 
> through. Think a really large, light-weight hoola-hoop. Please email me 
> in private if you have any ideas on where to acquire something that 
> could work for this purpose.


How about the hoops used in rhythmic gymnastics? A quick google for 
"gymnastic hoops" turns up several sources, including

http://www.francescainternational.com/Hoops.htm

While the ones pictured there are not as large as you want, they're pretty 
inexpensive; it might be worth tracking down a manufacturer to see if they 
can make them in a larger diameter. I'm positive I've seen them in bigger 
sizes at, for instance, Cirque du Soleil performances.

This might be useful, too - look down the right column for "how to make a 
hoop."

-- 
Pat Kight
Albany (Ore.) Civic Theater
kightp [at] peak.org


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

Message-ID: <417EF8F0.4030900 [at] peak.org>
Date: Tue, 26 Oct 2004 18:25:04 -0700
From: Pat Kight <kightp [at] peak.org>
Subject: Re: searching for hoops
References: <list-4804677 [at] prxy.net> <list-4807182 [at] prxy.net> <list-4811792 [at] prxy.net>
In-Reply-To: <list-4811792 [at] prxy.net>

Pat Kight wrote:


> This might be useful, too - look down the right column for "how to make 
> a hoop."


Well, it would have been if I'd pasted in the link:

http://www.hooping.org/archives/000001.html

Off to a tech rehearsal for "Copenhagen"...

-- 
Pat Kight
kightp [at] peak.org



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

Date: Wed, 27 Oct 2004 04:44:13 +0100 (BST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Job Notice--Sound Design position, Ithaca College
In-Reply-To: <list-4809868 [at] prxy.net>
Message-ID: <Pine.LNX.4.60.0410270442270.11979 [at] viscount.richmondsounddesign.com>
References: <list-4806607 [at] prxy.net> <list-4806607 [at] prxy.net> <list-4809778 [at] prxy.net>
 <list-4809868 [at] prxy.net>

On Tue, 26 Oct 2004, Stephen Litterst wrote:

> We've been forced to search John's position since all attempts to
> clone him have failed.

I coulda told you that wouldn't work ;-)

Good luck! (but all the best to John on his retirement - I sure hope I get 
invited to the party!!! ;-)

Charlie

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

Message-Id: <3.0.6.32.20041027001248.01977af0 [at] pop.west.cox.net>
Date: Wed, 27 Oct 2004 00:12:48
From: CB <psyd [at] cox.net>
Subject: Re: Life as a Scenic Artist

>The people working backstage on a salary are basically treated as "the help"
>by the front of house.

Usually a decent job description will cover this.  If they ask, and say
please, and you have time and have slept and eaten and showered at least
once in the last twenty-four hours, tell them yes.  If not, tell them that
if you had any spare time at the moment, you'd probably fill it with a nap,
a shower, or a meal.  If that doesn't clue them, cc a copy of your job
description to their supervisor.  Your on your own to invent 'performance
art' for the rest.  Damn, we ALL work in a discipline that is based on
describing subtle and deep emotions and messages thru action.  Think of it
as a play, Paul, and write yourself a good, fun part.  Make sure it isn't
one where everyone dies at the end.
				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...

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

Message-Id: <3.0.6.32.20041027001953.01977af0 [at] pop.west.cox.net>
Date: Wed, 27 Oct 2004 00:19:53
From: CB <psyd [at] cox.net>
Subject: Re: Life as a Scenic Artist

Paul wrote:
"What the solution is is beyondme outside of unionizing the organization? 
 (I am speaking of non union shops of course.)"

and then gregg wrote:
"I'd have to ask why limit this comment to non-union shops?"

Mostly because the job unionizing a union shop is limited to the Dept. of
Redundancy Dept.

and:
"I just hate to see such blanket assumptions that are not true perpetuated."

I slept five and worked fourteen and picked up on this.  OBTW, whats' the
difference between a union stagehand and a large pepperoni pizza?

				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...

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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Fire as Stage Illumination
Date: Wed, 27 Oct 2004 00:27:15 -0700
Message-ID: <028601c4bbf6$631c8960$726dfea9 [at] DrDoomsComputer>
In-Reply-To: <list-4810358 [at] prxy.net>

Ah, there is the rub. Call whom? The organized crime bureau ...... and
they do exist ... one of my past gigs ... about seven years. No more,
well, not so much anymore. Keep up the good work Frank. Doom

====================================================
A Masters Workshop for Entertainment Technicians, Riggers, Public
Assembly Technicians, and Educational Performing Arts Personnel -
Sponsored by Risk International & Associates, Inc.    April 4, 5, 6,
2005 at ELCO Performing Arts Center, Elkhart, Indiana

Brochure & Registration Form available at: www.riskit.com/workshops
====================================================
Risk International & Associates, Inc.  -  Dedicated to making the world
a healthier & safer place.
Website: www.riskit.com E-mail: rdavidson [at] riskit.com
====================================================
International Secondary Education Theater Safety Association (ISETSA)  -
Dedicated to the protection of every student in the performing arts.
Website: www.isetsa.org E-mail: info [at] isetsa.org
====================================================
960 E. Bonita #158, Pomona, CA 91767    Phone/Fax: (909) 625-5961
====================================================

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
FrankWood95 [at] aol.com
Sent: Tuesday, October 26, 2004 3:21 PM
To: Stagecraft
Subject: Re: Fire as Stage Illumination

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

In a message dated 26/10/04 23:08:11 GMT Daylight Time, 
doomster [at] worldnet.att.net writes:

> Call and check your FBI file. You might be shocked, we theatre and
>  artist people, esp. from the sixties. I did. Yikes. Doom

Call whom?

I should find it interesting if I had one. Somewhere, buried in the
archives, 
I have a British Army security clearance. I can even rember the
reference 
number. But that was about forty years ago.

In that space of time, people can change. Then, I was a conformist, 
jacket-and-tie conservative. Who can tell what I have become?


Frank Wood


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

Message-Id: <3.0.6.32.20041027002738.01977af0 [at] pop.west.cox.net>
Date: Wed, 27 Oct 2004 00:27:38
From: CB <psyd [at] cox.net>
Subject: Campfires on Stage

Dang!  You guys cursed me1  I just found out that I have to make a
campfire, ala the flowing-silks-and-fan-and-light type.  Someone mentioned
the FS-2 starters for the lamps, and I was wondering if those could be used
for the pin spots I'm planning on using.  You know, the 6V 30W with the
little transformer in the can?  I'm guessing that the starter and the txfmr
won't play nice, but I don't have the brainpower left over to do the math
in my head.  I have a pile of painted logs (luan flat style) and I'm
planning on using a box fan, some dyed silk, and the aforementioned
pinspots behind the art.  And maybe a coupla mylar pinwheels or some mylar
ribbon to flicker a bit of light upstage on actors and set behind the fire.
 Anyone who has any clues as to how well (or poorly) this design might
work, or anything that might make it better, cc any replies to
<sonoratheatrewrx [at] theriver.com>.  Oh, did I mention, rehearsals start
tomorrow?  At three?  He'p me!
				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...

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

Subject: Bizarre Multiple Catastrophic Truss Failure / rfc (long)
Date: Wed, 27 Oct 2004 02:00:20 -0700
Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF0316E22F [at] excuswa100.americas.unity>
From: "Cyr, Dale" <Dale.Cyr [at] getronics.com>

this one hasn't "broken" yet,
so let's set the record straight from the start.

at the spokane arena Sunday (october 24, 2004) morning an experienced IA
crew
assembled a 65 foot span of 20 inch truss consisting of 3 sections 10
feet long,
one 5 foot section, then 3 more 10 foot sections.

they then hung several sections of curtain on this truss.

this operation has been performed (estimated) 20-30 times
over the last 4 years or so,
and is done to create a more intimate space inside the larger arena.

two tapered sections are hung,
one over the stage left seating area,
one over the stage right seating area,
and another one on a separate truss
to create an upstage curtain / back stage area.

the curtain is tapered to accomadate the slope of the seats.
the longest (tallest?) section is about 45 feet,
the shortest about 15 feet.  (these are rough estimates for now.)

the truss is hung point up
and the manufacturers website says this is an acceptable configuration.

the truss is picked at each end,
about 18 inches from the end,
at the first (inverted) "V".

the curtain is attached to the top of the truss,
and hung on the downstage side,
thereby hiding the truss itself.

the stage left truss was flown to almost trim height,
and both motors were in motion,
when it failed.

apparently the curtain itself held and the lead on the crew
requested the motor control operator fly the=20
broken truss in, while attempting to maintain a constant=20
relationship between the broken pieces.

the curtain held for a few seconds,
then it failed also,=20
ripping from top to bottom,
leaving each half of the broken 65 foot span
hanging from it's spanset,
with half of the torn curtain attached.

at that point, the lead on the crew requested that the motor control
operator
immediately fly the broken pieces in.

it was not known what caused the failure.

after a cursory inspection, the lead requested a seamstress to repair
the curtain,
with an intention to possibly attempt to fly the truss again, minus the
broken section.

moving to the stage right truss, and assembling it in the normal manner,
it was flown to about 3 feet short of trim,
and the lead (who had taken over the motor control operation)
moved to a better vantage point to establish a reference for level,
when that truss also failed, ripping the curtain from top to bottom.

the attempt to hang the "side" curtains was then abandoned altogether,
and only the back curtain was hung (uneventfully).

noah has graciously agreed to host several high resolution photos
of the broken pieces, and hopefully he will respond to this thread=20
with a url.

*************************************************************
this post is also a request for comment relevant to the failure
analysis.

these are the potential relevant facts as they are currently known:

both truss failed at the same point, ie, at a 5 foot / 10 foot boundry.
both truss failed in the same way; all three connector plates of the 5
foot section
were ripped from the 5 foot section and stayed attached to the adjacent
10 foot section.

both truss were assembled with the 5 foot section in the middle of the
65 foot truss.

the load is not "uniformly distributed" in the strictest sense,
because the onstage end carries longer pieces of curtain.

alledgedly the manufacturer was consulted on the load distribution and
pick=20
points (this is being confirmed).

the spec plate (see photo) references spans up to 50 feet.
their web site also mentions "spans up to 50 feet".

looking at the damaged end of the truss (see photo):
the top connector plate ripped some of the truss member away from both
truss members.
both bottom connector plates ripped some of the bottom truss member away
BUT both bottom plates had the weld only fail on the "vertical" truss
members.

the weather recently has been humid.

the curtain are stored in normal hampers,
in a warehouse area.

the curtains were not pulled from the hampers;
they had been laid out over the seats.
it is not believed that the curtain caught on anything while flying out.

the connector plates of the 10 foot section that,
so to speak, retained possesion of the broken 5 foot connector plates
are severly "bulged" out, but none are (visibly) broken.

the spansets were rigged, in what I consider, an "unusual" way.
(see photo)
a bottom cord was choked, the span set passed under the other bottom
cord,
and then choked the top cord and continued up to the motor.
this had the effect of compressing the two bottom cords together,
but in a sort of "basket" fashion.
this configuration was re-created for the photo by the lead,
who had assisted in, and approved of the original rig.
(the photo shows only one side, for clarity)

truss sections are used in several configurations,
and no attention is paid to which section is placed in which position,
(except the 5 foot sections always end up in center, if used)
or how often a particular section may be used or not used..

the weight of the curtains is currently being verified..

the motors are rigged from permanently installed stantions in the grid.

questions / comments?
other questions that should be asked or
facts that should be acertained?


dale cyr
Training Supervisor
IATSE Local 93
Spokane Wa

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

From: "Shoaib Iqbal" <shoaib.iqbal [at] lokpunjab.org>
Subject: Shadow Backdrops
Date: Wed, 27 Oct 2004 14:51:46 +0500
Organization: Punjab Lok Rahs
Message-ID: <003a01c4bc0a$9625a1c0$56c251cb [at] sultanbahu>


Friends,

I want to use shadow as backdrops in my theater play. The problem is
that the light remains on in the performance; meantime off course I need
shadow in the background.

I have two questions;

1: Which light I should use?
2: are there any specific suggestions from you?

Thanks,

Shoaib Iqbal
Punjab Lok Rahs



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

End of Stagecraft Digest #176
*****************************