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

Stagecraft Digest, Issue #194

 1. Re: Rigging System Standards
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 2. Historical Lights
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 3. Re: Gam Roller on Source 4 Bad Luck
    by RHolen [at] vinu.edu
 4. MINI wireless dimmer
    by "James Smith, Soundsculpture Incorporated" <jsmith [at] theatrewireless.com>
 5. Re: Black Box Seating
    by Michael Powers <mfpowers [at] theater.umass.edu>
 6. Re: Gam Roller on Source 4 Bad Luck
    by Greg Bierly <gbierly [at] dejazzd.com>
 7. Re: Gam Roller on Source 4 Bad Luck
    by Richard Niederberg <ladesigners [at] juno.com>
 8. Re[2]: RE What light
    by "Frank E. Merrill" <Lamplighter [at] TCON.net>
 9. Re: Magic of Light
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
10. Re: Magic of Light
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
11. Re: Black Box Seating
    by Stephen Litterst <slitterst [at] ithaca.edu>
12. Re: Magic
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
13. Re: scenic painting
    by Scott Spidell <sspidell [at] uwaterloo.ca>
14. Parellipsphere in perspective
    by "RICHARD FINKELSTEIN" <rfinkels [at] msn.com>
15. Re: scenic painting (brushes)
    by Claire Dana <CDANA [at] indianarep.com>
16. Re: Re[2]: RE What light
    by Richard Niederberg <ladesigners [at] juno.com>
17. Re[2]: What's that light?
    by "Frank E. Merrill" <Lamplighter [at] TCON.net>
18. Re: scenic painting (brushes)
    by "Jon Ares" <jonares [at] hevanet.com>
19. Re: Magic of Light
    by Richard Niederberg <ladesigners [at] juno.com>
20. Re: RE What light
    by "John Penisten" <john [at] fullcompass.com>
21. A Question
    by Danielle Maul <dmaulny [at] earthlink.net>
22. Re: A Question
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
23. Re: Black Box Seating
    by "Scott Boyle" <smboyle [at] cc.edu>
24. Re: A Question
    by Steve Larson <tiptd [at] theatreinthepark.com>
25. Re: A Question
    by Kevin Lee Allen <klad [at] klad.com>
26. Re: Gam Roller on Source 4 Bad Luck
    by John McKernon <stagecraft2004 [at] mckernon.com>
27. Re: A Question
    by "Steven Haworth" <sjh [at] idm.com>
28. Re: Projection
    by Danielle Maul <dmaulny [at] earthlink.net>
29. Vassar Powerhouse  (was:  Re: What's that light?)
    by "Bryan H. Ackler" <backler [at] ix.netcom.com>
30. Re: Re[2]: What's that light?
    by "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
31. Re: What's that light?
    by Stephen Litterst <slitterst [at] ithaca.edu>
32. Re: The magic
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
33. Re: Projection
    by FrankWood95 [at] aol.com
34. Re: What's that light?
    by Steve Larson <tiptd [at] theatreinthepark.com>
35. Re: Re[2]: What's that light?
    by FrankWood95 [at] aol.com
36. Re: What's that light?
    by Stephen Litterst <slitterst [at] ithaca.edu>
37. Varivocal (Frank's word) Parellipsphere
    by Paul Puppo <paul [at] Nifty-Gadgets.com>
38. zooms (was Re: What's that light?)
    by Shawn Palmer <shawnp [at] northnet.net>
39. Sound workshop
    by Jason Romney <jason [at] cd-romney.com>
40. Re: zooms (was Re: What's that light?)
    by Stephen Litterst <slitterst [at] ithaca.edu>
41. Re: Kristi's "The Magic"
    by <hep_cat [at] cox.net>
42. Magic Followup
    by Stephen Litterst <slitterst [at] ithaca.edu>
43. Re: Rigging System Standards
    by "James, Brian" <bej [at] vt.edu>
44. Re: The magic
    by David Marks <dave [at] davidmarks.cc>
45. Re: Magic Followup
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
46. Re: Rigging System Standards
    by Bill Sapsis <bill [at] sapsis-rigging.com>
47. Re: What's that light?
    by Greg Bierly <gbierly [at] dejazzd.com>
48. Historical trivia about theatre
    by "Frank E. Merrill" <Lamplighter [at] TCON.net>
49. Re: Magic Followup
    by Wood Chip-P26398 <Chip.Wood [at] motorola.com>
50. Re: Historical trivia about theatre
    by IAEG [at] aol.com
51. Re[4]: What's that light?
    by "Frank E. Merrill" <Lamplighter [at] TCON.net>
52. Re: Rigging System Standards
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
53. USITT Toronto: Where to stay....
    by Scott Parker <scparker [at] gmail.com>
54. Re[2]: Historical trivia about theatre
    by "Frank E. Merrill" <Lamplighter [at] TCON.net>
55. Re: Varivocal 
    by Dale Farmer <dale [at] cybercom.net>
56. Scenic Design position available.
    by Joseph Champelli <champelli [at] knology.net>
57. Re: Magic Followup
    by "Tony" <deeming.tony [at] btinternet.com>
58. Re: Varivocal (Frank's word) Parellipsphere
    by FrankWood95 [at] aol.com
59. Re: What's that light?
    by "Marc Palmer" <MPalmer [at] prg.com>
60. Re: zooms (was Re: What's that light?)
    by FrankWood95 [at] aol.com
61. Re: Re[4]: What's that light?
    by FrankWood95 [at] aol.com
62. Re: Sound workshop
    by MissWisc [at] aol.com
63. Re: Re[2]: Historical trivia about theatre
    by IAEG [at] aol.com
64. Re: Polite request
    by Sean Evans <morydd [at] gmail.com>
65. Re: What's that light?
    by "Don Taco" <taco [at] peak.org>
66. Re: Theatrical architecture
    by Sunil Rajan <squeakypig [at] earthlink.net>
67. Re: Magic Followup
    by "Andy Leviss" <Andy [at] DucksEchoSound.com>
68. Re: Rigging System Standards
    by Bill Sapsis <bill [at] sapsis-rigging.com>
69. Re: Historical trivia about theatre
    by Eddie Kramer <ESKramer [at] earthlink.net>
70. Re: Sound workshop
    by Greg Persinger <gregpersin [at] comcast.net>
71. Movin' Out Tour at the National Theatre
    by Mike Benonis <mbenonis_lists [at] mac.com>
72. Re: Rigging System Standards
    by "James, Brian" <bej [at] vt.edu>
73. Fine arts center management
    by "James, Brian" <bej [at] vt.edu>
74. Re: Fine arts center management
    by "Chris Warner" <bearz2 [at] cox.net>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

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

Date: Fri, 12 Nov 2004 06:29:00 -0500
Subject: Re: Rigging System Standards
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BDBA08AC.105D%bill [at] sapsis-rigging.com>
In-Reply-To: <list-4987517 [at] prxy.net>

on 11/12/04 3:02 AM, James, Brian at bej [at] vt.edu wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Does anybody know if there are counter weight rigging system standards or
> guidelines published any where by anybody?
> 
> I went to the USITT website and ETSA and did not see anything, I could have
> over looked them though.
> 
> Any help is appreciated!


Rigging standards are in the process of being developed by the Rigging
Working Group, a part of the Technical Standards Program at ESTA
Proposed standard E1.4  Manual Rigging has just completed a public review
and the responses from that review are being evaluated.  It is not a
Standard yet but it's getting closer.  (If you have any questions regarding
the standards program at ESTA you can give me a shout privately.  I'm one of
the co-chairs of the Rigging Working Group.)

Manufacturers develop equipment specifications, not standards.  These
specifications relate to the fabrication and installation of their hardware
and equipment.  They are not standards not are they design criteria.  To get
the right equipment for a particular space, a consultant or designer  or
architect is needed.

Zat help?

Bill S.
www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.


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

Message-ID: <4194B825.5060805 [at] fredonia.edu>
Date: Fri, 12 Nov 2004 08:18:29 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Historical Lights
References: <list-4984465 [at] prxy.net>

Well, speaking of historical lighting fixtures, does anyone know if the 
"museum" fixtures that once existed at Penn State in State College, PA 
still is there?  Charles (Levy?  Faculty member) had stated it in the 
'70's as I recall. (vaguely, it seems)
Steve Rees

Michael S. Eddy wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> Noah Price wrote:
> 
> 
>>On Nov 11, 2004, at 9:45 AM, Michael Eddy wrote:
> 
> 
>>>I had not seen the ellipsoidal version.
>>
> 
>>I can get you a great deal if you'd like one :-)
> 
> 
> Saw right, but no thanks. If I bring one more piece of theatrical history
> home, my darling wife has threatened to club me to death with it. In other
> words, I have enough anchors.
> 
> Michael Eddy



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

Subject: Re: Gam Roller on Source 4 Bad Luck
Message-ID: <OFBCC5F711.0CD52D9D-ON05256F4A.00494134 [at] vinu.edu>
From: RHolen [at] vinu.edu
Date: Fri, 12 Nov 2004 07:25:15 -0600

I did a production of "Honk" the musical last week. I rented four Gam
Rollers with the Flame/Water roller gobos. They lasted four performances.
The Gobos were wonderful until they hooked up in the rollers and stopped
rolling. Has anyone else had this problem? I trimmed the torn parts of the
gobo, but they hooked up someplace else and stopped again. For $69.95 a
piece I would think they would work more than four performances.

Richard D. Holen
Professor
Dept. of Theatre
Vincennes University
1002 N. 1st  Street
Vincennes, IN 47591
Office: 812 888 5339
Home: 812 886 9135
Cell: 812 760 8000
rholen [at] indian.vinu.edu


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

From: "James Smith, Soundsculpture Incorporated" <jsmith [at] theatrewireless.com>
Subject: MINI wireless dimmer
Date: Fri, 12 Nov 2004 08:29:37 -0500
In-Reply-To: <list-4988255 [at] prxy.net>
Message-Id: <20041112132940.LSGR1899.tomts13-srv.bellnexxia.net [at] p3m866>

Hey Folks --

Just letting you know I now make a new smaller dimmer for my RC4 wireless
lighting system.  The San Francisco Opera just picked up 4 of them.  More
info at www.theatrewireless.com.

There's no mention of it on our website, but we offer a substantial discount
to educational and small house purchasers.  Trying to help out wherever we
can.  Give me a call if you're interested.

My apologies for the shameless promotion!

James Smith
Soundsculpture Incorporated
1-866-258-4577


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

Date: Fri, 12 Nov 2004 08:37:25 -0500
From: Michael Powers <mfpowers [at] theater.umass.edu>
Subject: Re:   Black Box Seating
Cc: mengler [at] d.umn.edu
Message-id: <4194BC95.1020708 [at] theater.umass.edu>

 Mark Engler <mengler [at] d.umn.edu>Wrote:

<<I'm looking to replace our black box chairs. My only requirements at 
this point are that they be stackable, lock together, and are 
comfortable. Cost will come into the equation a little later. Any 
suggestions would be appreciated.  >>

Mark,

Check out the Wenger "Portable Audience Chair".  

http://www.wengercorp.com/wenger/wengerhome.nsf/MainFrameset!OpenFrameset

I saw them at USITT last year and was very impressed.  They Lock together or stand alone, the seat folds up like permanent seating for easier access past unoccupied seats.  I sat in them and though the padding is thin compared to permanent seating, they seemed quite comfortable. Unlike Wenger's "Killer" Orch. Shells, these seem to be well thought out, designed and constructed.

And no, I'm not employed by Wenger or any of their partners, though I wouldn't return a check if they sent one  :-) 




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>



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

In-Reply-To: <list-4988914 [at] prxy.net>
References: <list-4988914 [at] prxy.net>
Message-Id: <929D90B6-34B3-11D9-9F35-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Gam Roller on Source 4 Bad Luck
Date: Fri, 12 Nov 2004 09:03:04 -0500

> I rented four Gam
> Rollers with the Flame/Water roller gobos. They lasted four 
> performances.
> The Gobos were wonderful until they hooked up in the rollers and 
> stopped
> rolling. Has anyone else had this problem?
>
I purchased a film/FX loop and rented two additional units specifically 
to do the "large ripples" but upon ordering was told they had too many 
problems with that pattern and would only sell it to be used in the 
SX4.  I haven't tried the fire/waves but I had good luck with the 
diamonds and someone else just used the rain without issue.   The issue 
is with the small diameter of the rollers and the tight bend the loop 
has to make.  Did it look like the loop was starting to heat up and 
warp?  If that was the issue try a well trimmed source four as the 
instrument to keep gobo temps down.

Greg Bierly
Technical Director
Hempfield HS


Greg Bierly
Technical Director
Hempfield HS


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

Date: Fri, 12 Nov 2004 06:10:43 -0800
Subject: Re: Gam Roller on Source 4 Bad Luck
Message-ID: <20041112.061053.2888.2.ladesigners [at] juno.com>
From: Richard Niederberg <ladesigners [at] juno.com>

All four? I have never had this problem with GAM's quality control. Call
them at (323) 935-4975 and you should get an explanation, then tell us...
/s/ Richard

> I did a production of "Honk" the musical last week. I rented
> four Gam Rollers with the Flame/Water roller gobos. They 
> lasted four performances. The Gobos were wonderful until 
> they hooked up in the rollers and stopped rolling. Has anyone
> else had this problem? I trimmed the torn parts of the gobo, 
> but they hooked up someplace else and stopped again. For 
> $69.95 a piece I would think they would work more than 
> four performances.
> Richard D. Holen

________________________________________________________________
Juno Platinum $9.95. Juno SpeedBand $14.95.
Sign up for Juno Today at http://www.juno.com!
Look for special offers at Best Buy stores.

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

Date: Fri, 12 Nov 2004 09:29:27 -0500
From: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Message-ID: <208295655.20041112092927 [at] TCON.net>
Subject: Re[2]: RE What light
In-Reply-To: <list-4984576 [at] prxy.net>
References: Your message of Thu, 11 Nov 2004 09:09:34 -0700
 <list-4984576 [at] prxy.net>

Howdy!

Thursday, November 11, 2004, Steve Backus wrote about the waning days
of Electro Controls:

SJB> Remember those plastic laminated labels they put on everything?
SJB> For a small bribe the lady who made them would make some for you.

Okay, I confess.  The door to the office where I now sit bears a very
nicely engraved nameplate that cost me a cheeseburger, fries and a
shake.

Best regards,
 Frank E. Merrill
 MERRILL STAGE EQUIPMENT
 Eastablished 1946
 Indianapolis  
 317: 255 4666

 Running The Bat! Natural e-mail system v3.0
         mailto:Lamplighter [at] TCON.net



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

Message-ID: <005501c4c8c6$c68ac700$0202a8c0 [at] MyLastPC>
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
References: <list-4988255 [at] prxy.net>
Subject: Re: Magic of Light
Date: Fri, 12 Nov 2004 04:49:12 -1000

<<Good luck on your sale, and next time, please provide me with advance
notice of your offering for resale any other rare theatrical design books
that I might not already
have!
>>

I have sold a couple copies to list members over the years... I thought I'd
see what it brings from the general public.  I am going to be seriously
culling my design reference library but I don't know if I have any other
"rare" design books.


I'll make a list of what I'm getting rid of if anyone is interested.

Two books are going that  I have right at hand:

Great Stars of the American Stage - Daniel Blum
World Theatre in Pictures - Tom Prideaux

Laters,

Paul

Someone removed all the twos from this deck," Tom deduced.


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

Message-Id: <6.1.2.0.0.20041112094956.01ba8470 [at] mail.insightbb.com>
Date: Fri, 12 Nov 2004 09:52:05 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Magic of Light
In-Reply-To: <list-4986454 [at] prxy.net>
References: <list-4986454 [at] prxy.net>

Is this a bad time to mention that I purchased my (very good condition) 
first edition of this book for 12.50 plus book-rate shipping just a few 
years ago?

It is a book well worth the 100+ that it commands now.

Mike

At 11:32 PM 11/11/2004, Richard Niederberg wrote:
>         So, you are going to make some poor list member go through what I
>did to mentally to justify to myself the spending of well over $100 plus
>shipping for the book, just as I did when I bought a copy of 'The Magic
>of Light' from you a few years ago. It remains my most expensive


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

Date: Fri, 12 Nov 2004 09:53:25 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Black Box Seating
Message-id: <4194CE65.AB307293 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4989011 [at] prxy.net>

Michael Powers wrote:
> ---------------------------------------------------
> 
>  Mark Engler <mengler [at] d.umn.edu>Wrote: 
> <<I'm looking to replace our black box chairs. My only requirements at
> this point are that they be stackable, lock together, and are
> comfortable. Cost will come into the equation a little later. Any
> suggestions would be appreciated.  >>

> Check out the Wenger "Portable Audience Chair".
> 
> http://www.wengercorp.com/wenger/wengerhome.nsf/MainFrameset!OpenFrameset
> 
> I saw them at USITT last year and was very impressed.  They Lock together or stand alone, the seat folds up like permanent seating for easier access past unoccupied seats.  I sat in them and though the padding is thin compared to permanent seating, they seemed quite comfortable. Unlike Wenger's "Killer" Orch. Shells, these seem to be well thought out, designed and constructed.

We looked at these when we replaced our black box seating a few years
ago.  Our main objection to them was their size, as our seats are
struck and stored when the space is not in production.  If you leave
them in place all the time it's a good unit.

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

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

Message-ID: <005901c4c8c7$7a852610$0202a8c0 [at] MyLastPC>
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
References: <list-4988255 [at] prxy.net>
Subject: Re: Magic
Date: Fri, 12 Nov 2004 04:54:14 -1000

Great post Kristi.

My children enjoyed opera...  We would get tickets to dress rehearsals and
would sit in the balcony.  The boys were totally enthralled with the
production.  Even my  2 year old daughter was captivated until she realized
that there was someone in her vicinity who had the audacity to believe they
could be louder than she.  Had to take her out before she started to "sing"
as well.

Laters,

Paul

Those ants will never get in here," Tom said defiantly.


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

Message-Id: <5.1.0.14.0.20041112095527.0204a3e8 [at] watarts.uwaterloo.ca>
Date: Fri, 12 Nov 2004 10:00:38 -0500
From: Scott Spidell <sspidell [at] uwaterloo.ca>
Subject: Re: scenic painting
Cc: jerrard [at] uoguelph.ca
In-Reply-To: <list-4988255 [at] prxy.net>

At 06:00 AM 11/12/2004, Jerrard wrote:
>Greetings from someone new to the list.
>I am teaching a course in scenic painting next semester and am planning
>to assemble a kit of brushes for the students to purchase. I would love
>to know your thoughts on favourite brushes, manufacturers and suppliers
>(Canadian sources are particularly helpful).
>best,
>Jerrard Smith
>Drama
>University of Guelph

Jerrard,
Call Steve Spendiff or Brian Cloutier at Rosco 888-767-2686, or better 
still email Bill Chesney here at wchesney [at] uwaterloo.ca he teaches our 
scenic painting and has painted or designed for just about everybody north 
of the 49th.
Scott


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

From: "RICHARD FINKELSTEIN" <rfinkels [at] msn.com>
Subject: Parellipsphere in perspective
Date: Fri, 12 Nov 2004 10:06:51 -0500
Message-ID: <BAY3-F9AgjHXwKHvyo30001a170 [at] hotmail.com>

I'll make lots of enemies probably with this post but what the hey!  First 
indeed the fixture in question became an albatross but that is not how the 
story started and I think that it might be beneficial for folks to learn a 
tad more about the history of this development.

In 1976-7 while a grad student (Lighting Assistant) at Carnegie Mellon U, we 
were one of those who participated in the testing of the prototype of the 
Parellipsphere. At the time there were only 3 in existace, sand casted. At 
the same time, Colortran was bringing out their own new lines of light and 
they too sent a prototype to us. This made for great comparisons.

At the prototype level the Parellipsphere was actually astonishing believe 
it or not. I would not only call the design revolutionary but I also suspect 
that a lot of what makes ETC's stuff so great today actually was pioneered 
in the Parellipsphere.

Here is the science behind the unit as I recall.  Since 1911 (by my own 
lighting history research) optical engineers knew what theatre lighting 
profs still don't teach:  That the diagrams of reflectors and beams from 
them only apply in theory to point sources, something that doesn't actually 
exist, especially in incandescent theatre lights! Rather theatre filaments 
form a line or a plane, and there the ol' diagrams and geometries totally 
break down.   Manufacturers attempted to compensate for the REAL shape of 
filaments with designs like the flatted and double flatted reflectors that 
are still out there.

But one of the scientific publications (I have it somewhere) of 1911 
proposed a different solution, the hybrid reflector whereby two or more 
curves are combined to make the reflector. If properly engineered the optics 
are far superior to single curve reflectors like an ellipsoid or parabola.

The Perellipse folks also redesigned the lenses making them more optical and 
less like "coke bottles". I BELIEVE the lenses may have also been plastic 
which may too have transmitted more light.

Again in the prototype form the units were amazing. It would be fun to 
compare to a modern S4!

I did a show at The Kennedy Center's Terrace Theatre soon after and their 
Parellipspheres seemed to do well but by the 1980s when I was at The State U 
of NY at StonyBrook with their hundreds of units things had changed.

THESE Parellipspheres were....crap!   What the TD there discovered which 
would explain most if not all of the problem is that the lamp manufacturers 
changed the design of the lamp while keeping the same ANSI code. The light 
center length of the lamp was now different and totally wrong for this 
instrument which required precise centering of the lamp due to the advanced 
reflector design.

The effect was like night and day. Even what adjustments the instrument 
allowed would make a tremendous difference but the new lamps just made the 
light fixtures largely unusable.

So while it is true that the instruments ended up being largely useless in 
practice I do not think it is actually the fault of the units themselves but 
of the lamp manufacturers!

HEY FOLKS WHO DEVELOP LIGHTS....THE MORAL....IT COULD HAPPEN TO YOU....and 
then on some list of the future the participants might be calling YOU names!

As the pioneer of lighting, Fred Bentham told our CMU class.... "one 
designer LIVES to destroy the work of the previous designer"

Richard Finkelstein
http://www.rfdesigns.org/



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

Message-ID: <FD538F8E0ED7D211A70C00A0C9E924C7BA5EF3 [at] irt_admin.indianarep>
From: Claire Dana <CDANA [at] indianarep.com>
Subject: RE: scenic painting (brushes)
Date: Fri, 12 Nov 2004 10:12:14 -0500

Jerrard Smith said:

"I am teaching a course in scenic painting next semester and am planning 
to assemble a kit of brushes for the students to purchase. I would love 
to know your thoughts on favourite brushes, manufacturers and suppliers 
(Canadian sources are particularly helpful)."


What will you cover in your course and what is the total cost range that's
appropriate?  Practically speaking, running a professional theatre-based
shop, though I'm glad to have a couple of full sets of fitches and liners, I
don't use them nearly as much day-to-day as I do a lot of other tools...

If you're going to teach faux techniques like marble and wood, you need
lay-in brushes, and cheap "chip" brushes you can modify for a particular
purpose, but otherwise your tools might be different kinds of rags, tape,
scissors, fluffy wool rollers, feathers, sponges, squeegees, and
manufactured rockers and combs among other things.  Many of those things you
can get at reasonable (to a professional shop)at either specialty stores,
hardware or a good house paint store.

If you'll be working on landscapes: again, some different sizes of lay-in
brushes, a hand-held sprayer (like a 1-litre hand pump from the gardening
section), sawdust or kitty litter for skies, and now maybe the fitches for
foliage.

If you're introducing them to trompe l'oiel, now you really need to add the
full range of scenic brushes, though if your "ground" is marble, you might
use some of those other things and a few "artist" size brushes and possible
some sharpies in different colors for cut lines.

If you're teaching people how to copy stuff like distinctive artistic
styles, you want them to be able to manufacture stuff like cut or otherwise
modified rollers, or identify what they need from a completely different
source( I used Milk Duds to fake a rope detail in a sculpture project when I
was a student at Cobalt).  That's pretty cheap.

But since that's not what you really asked for, here are some web addresses
that came up on the Scenic Artist Forum recently
(http://groups.yahoo.com/group/Scenic_Artist_Forum )

www.rosebrand.com 8-piece set of fitch/liners $119.65 in 2004 catalog
www.paintbrushes.com/whrtoby.htm this is for Best Liebco/Symphony brand
www.Mannbrothers.com California, but they're good.
www.Savittbrothers.com Minneapolis
www.Janovic.com New York City

E-mail me off-list or phone if you wish.

Claire Dana
Charge Scenic Artist
Indiana Repertory Theatre
(317) 916-4855

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

Cc: Lamplighter [at] TCON.net
Date: Fri, 12 Nov 2004 07:05:48 -0800
Subject: Re: Re[2]: RE What light
Message-ID: <20041112.070556.2888.4.ladesigners [at] juno.com>
From: Richard Niederberg <ladesigners [at] juno.com>

Say it isn't so! We can not suborn Corruption on this list. <g>
/s/ Richard

> Okay, I confess.  The door to the office where I now sit 
> bears a very nicely engraved nameplate that cost me a 
> cheeseburger, fries and a shake.
> Frank E. Merrill

________________________________________________________________
Juno Platinum $9.95. Juno SpeedBand $14.95.
Sign up for Juno Today at http://www.juno.com!
Look for special offers at Best Buy stores.

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

Date: Fri, 12 Nov 2004 10:11:21 -0500
From: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Message-ID: <902741222.20041112101121 [at] TCON.net>
Subject: Re[2]: What's that light?
In-Reply-To: <list-4986126 [at] prxy.net>
References: <list-4979208 [at] prxy.net> <list-4986126 [at] prxy.net>

Howdy!

Thursday, November 11, 2004, Brian Aldous wrote about the Noah Price's
mysterious Major EXAL series ellipsoidals and fresnels:

BA> Now, maybe Major got Electro Controls to actually manufacture the units
BA> (as suggested by others) but that does not ring a bell with me.  Surely
BA> there is someone on this list older in the lighting biz than myself who
BA> recalls these? At least I hope so.

I hope to quell the palpitation in Mr. Aldous' heart over this matter,
with apologies to Michael Eddy's preference to keep further historical
commentary to a minimum...Hahaha!

I do not have the ambition to rummage through the back room to find
the exact dates, but IMNAAHO Major stopped building the EXAL
instruments before the merger with Electro Controls in the early
1980's, although EC did explore using extruded aluminum panels in a
few of their luminaires sometime after 1975.

Best regards,
 Frank E. Merrill
 MERRILL STAGE EQUIPMENT
 Eastablished 1946
 Indianapolis  
 317: 255 4666

 Running The Bat! Natural e-mail system v3.0
         mailto:Lamplighter [at] TCON.net



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

Message-ID: <002701c4c8cb$0dc950b0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-4989550 [at] prxy.net>
Subject: Re: scenic painting (brushes)
Date: Fri, 12 Nov 2004 07:19:50 -0800

> source( I used Milk Duds to fake a rope detail in a sculpture project when 
> I
> was a student at Cobalt).  That's pretty cheap.


I want to hear more about the Milk Dud technique.  :)

         -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm 


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

Date: Fri, 12 Nov 2004 07:19:54 -0800
Subject: Re: Magic of Light
Message-ID: <20041112.071959.2888.5.ladesigners [at] juno.com>
From: Richard Niederberg <ladesigners [at] juno.com>

YES, but I still do not feel foolish for paying ten times more, even
though the dust jacket has $15 printed on it...
/s/ Richard

> Is this a bad time to mention that I purchased my (very
> good condition) first edition of this book for 12.50 plus 
> book-rate shipping just a few years ago?
> It is a book well worth the 100+ that it commands now.
> Mike

________________________________________________________________
Juno Platinum $9.95. Juno SpeedBand $14.95.
Sign up for Juno Today at http://www.juno.com!
Look for special offers at Best Buy stores.

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

Message-ID: <4194D6B7.6000502 [at] fullcompass.com>
Date: Fri, 12 Nov 2004 09:28:55 -0600
From: "John Penisten" <john [at] fullcompass.com>
Subject: RE: RE What light
References: <list-4988255 [at] prxy.net>
In-Reply-To: <list-4988255 [at] prxy.net>

I have to step out of lurk mode for this.  Michael, the thought of Kathy 
hitting you over the head with an ellipsoidal is just too much.  If you 
change your mind and want an EC unit, there are still several sitting at 
the high school I would be more than happy to send you.

I hope both you and your darling wife are doing well.

John

 >>
Saw right, but no thanks. If I bring one more piece of theatrical history
home, my darling wife has threatened to club me to death with it. In other
words, I have enough anchors.

Michael Eddy

-- 
John Penisten
Full Compass Systems
Rental, Production, Design
http://www.fullcompass.com
Phone: 800-356-5844 Ext. 1355
Fax: 608-831-6330

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

Message-Id: <a06002005bdba8a0ba52e [at] [4.237.11.156]>
In-Reply-To: <list-4988255 [at] prxy.net>
References: <list-4988255 [at] prxy.net>
Date: Fri, 12 Nov 2004 10:53:33 -0500
From: Danielle Maul <dmaulny [at] earthlink.net>
Subject: A Question

Hi y'all-

Now I have a slightly odd situation and question.

Through years of the both of us freelancing, and buying gear for a 
job that ended up not being used. Or the group you're working for 
decides to throw something away that you believe can be fixed. Or you 
don't think it's as obsolete as they do, when they're throwing it 
out, and retrieve it.

Now that was all OK when we lived in a house with lots of room. Now 
we've moved to a place where storage space is at a premium. I'm 
feeling inundated. Other than Ebay, where can I sell this stuff? 
(It's all lighting and audio gear.) And I'd prefer not to ship it 
across the country or to europe. (Which has been proposed through 
mandy.com.)

I'm in NYC. Any good ideas or websites?
-- 

-------
Danielle Maul
<dmaulny [at] earthlink.net>

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: A Question
Date: Fri, 12 Nov 2004 10:58:15 -0500
Message-ID: <000001c4c8d0$82d8de20$6601a8c0 [at] Dell>
In-Reply-To: <list-4989850 [at] prxy.net>

What kind of stuff have you got?  I'm right outside NYC, and I have lots
of room. <grin>


> Now that was all OK when we lived in a house with lots of room. Now 
> we've moved to a place where storage space is at a premium. I'm 
> feeling inundated. Other than Ebay, where can I sell this stuff? 
> (It's all lighting and audio gear.) And I'd prefer not to ship it 
> across the country or to europe. (Which has been proposed through 
> mandy.com.)
> 
> I'm in NYC. Any good ideas or websites?


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

Reply-To: <smboyle [at] cc.edu>
From: "Scott Boyle" <smboyle [at] cc.edu>
Subject: RE: Black Box Seating
Date: Fri, 12 Nov 2004 10:02:26 -0600
Organization: Carroll College
Message-ID: <001201c4c8d1$011c2bc0$73db688c [at] cc.edu>
In-Reply-To: <list-4989011 [at] prxy.net>






 Mark Engler <mengler [at] d.umn.edu>Wrote:

<<I'm looking to replace our black box chairs. My only requirements at 
this point are that they be stackable, lock together, and are 
comfortable. Cost will come into the equation a little later. Any 
suggestions would be appreciated.  >>


Michael Powers wrote:

>>Check out the Wenger "Portable Audience Chair".  

http://www.wengercorp.com/wenger/wengerhome.nsf/MainFrameset!OpenFramese
t<<

I can vouch for these chairs I just bought 200 of them for our theatre.
They are very comfortable.  Even with my bad back I was able to sit in
the demo version they sent me through two 10/12 tech rehearsals without
compliant.  They aren't very stackable, but they are built really well
and as Michael mentioned very well thought out.

HTH,

Scott M. Boyle
Technical Director
Carroll College





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

Date: Fri, 12 Nov 2004 11:02:40 -0500
Subject: Re: A Question
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BDBA48D0.202B%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-4989850 [at] prxy.net>

As a technical director for a not-for-profit
theatre we have lots of inquiries about various
things people want to donate.  We take most
clothes, what we can't use we give to thrift
stores we frequent.

We also post on our website, items we would
like donated, i.e., wood, etc.

Everything donated to a not-for-profit can
be deducted on your taxes.  Often the
value you set for the item is more than you
are going to actually get selling it on eBay.
If you do sell on eBay, the buyer should pay
for the shipping.  I prop shop on eBay all the
time.

Perhaps you can find a not-for-profit theatre
in your area that could use it.  Perhaps a
local high school, junior college, etc.

You would make a great friend for some needy
organization.

Steve

on 11/12/04 10:53 AM, Danielle Maul at dmaulny [at] earthlink.net wrote:

 Other than Ebay, where can I sell this stuff?
> (It's all lighting and audio gear.) And I'd prefer not to ship it
> across the country or to europe. (Which has been proposed through
> mandy.com.)
> 
> I'm in NYC. Any good ideas or websites?


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

Date: Fri, 12 Nov 2004 11:07:52 -0500
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: A Question
In-reply-to: <list-4989850 [at] prxy.net>
Message-id: <01926AD1-34C5-11D9-A3EB-003065D2C502 [at] klad.com>
References: <list-4988255 [at] prxy.net> <list-4989850 [at] prxy.net>

craigslist.org


On Nov 12, 2004, at 10:53 AM, Danielle Maul wrote:

> For info, archives & UNSUBSCRIBE, see=20
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hi y'all-
>
> Now I have a slightly odd situation and question.
>
> Through years of the both of us freelancing, and buying gear for a job=20=

> that ended up not being used. Or the group you're working for decides=20=

> to throw something away that you believe can be fixed. Or you don't=20
> think it's as obsolete as they do, when they're throwing it out, and=20=

> retrieve it.
>
> Now that was all OK when we lived in a house with lots of room. Now=20
> we've moved to a place where storage space is at a premium. I'm=20
> feeling inundated. Other than Ebay, where can I sell this stuff? (It's=20=

> all lighting and audio gear.) And I'd prefer not to ship it across the=20=

> country or to europe. (Which has been proposed through mandy.com.)
>
> I'm in NYC. Any good ideas or websites?
> --=20
>
> -------
> Danielle Maul
> <dmaulny [at] earthlink.net>
>
>

-----
Kevin Lee Allen
Production Designer
http://www.klad.com
973.744.6352.voice
201.280.3841.cell
klad [at] klad.com
=F0



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

Date: Fri, 12 Nov 2004 11:18:12 -0500
Subject: Re: Gam Roller on Source 4 Bad Luck
From: John McKernon <stagecraft2004 [at] mckernon.com>
Message-ID: <BDBA4C74.DFC9%stagecraft2004 [at] mckernon.com>
In-Reply-To: <list-4989153 [at] prxy.net>

> All four? I have never had this problem with GAM's quality control. Call
> them at (323) 935-4975 and you should get an explanation, then tell us...

Were you by chance using them with 750w Source Four's? GAM recommends them
only for use with 575w.

- John McKernon


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

Subject: RE: A Question
Date: Fri, 12 Nov 2004 10:50:55 -0600
Message-ID: <721DC9EE550F834A92EC08BDC332B0EE01608384 [at] trader.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

I've got a list of used lighting places on my page:
	http://www.stagelights.info

Some of these are dealers selling old equipment, but others actually =
buy/sell used gear.  Look thru the list, and perhaps try contacting some =
of them.



- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info

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

Message-Id: <a06002009bdba9acc94f5 [at] [4.237.11.156]>
Date: Fri, 12 Nov 2004 11:53:43 -0500
From: Danielle Maul <dmaulny [at] earthlink.net>
Subject: Re: Projection

Hello again-

Ah yes, projection. It has to do with breathing from your diaphragm. 
(I had singing lessons when I was younger.) It's very useful to be 
able to be heard all over the arena when you want to. ("BREAK!") Or 
not use it, to quietly speak backstage. Glad Mom did that for me.

At 3:00 AM -0800 11/12/04, Frank Wood wrote:
>But, at the same time, hundreds of opera singers can do just that. It's a
>skill called 'projection'. I'm no singer, but I can do it with my 
>speaking voice,
>although I can't tell you how I do it. It's not shouting, it's somehow adding
>intensity, as in a stage whisper.


-- 

-------
Danielle Maul
<dmaulny [at] earthlink.net>

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

Message-ID: <4194EA78.8040400 [at] ix.netcom.com>
Date: Fri, 12 Nov 2004 08:53:12 -0800
From: "Bryan H. Ackler" <backler [at] ix.netcom.com>
Organization: Va. Tech - Vassar - USITT - NTHP
Subject: Vassar Powerhouse  (was:  Re: What's that light?)
References: <list-4988255 [at] prxy.net>
In-Reply-To: <list-4988255 [at] prxy.net>

Brian et. al.

The fixtures in the Hallie Flanagan Powerhouse Theater were
indeed provided by Major Controls.  The ellipsoids used the 1kW SRC
dual ended DWT lamp.  State of the art for 1972 when it was speced.

However, the fixture mounted dimmer was specific to the Powerhouse and
specifically to Ned Lustig, who was the consultant, along with Vassar's
own Tad Gesek.  They were indeed analog 0-10v DC.  The fixtures and
dimmers were manufactured by Major in Illinois.  Ned and Tad were only
about thirty years ahead in their technology scheme, and it wasn't until 
this year that another fixture mounted dimmer appeared, ET's Bak-Pak.

For a Black Box theatre the fixture mounted dimmer (FMD) made a great
deal of sense and was very successfully used for years until a fire and
"wear and tear" took their toll.

Bryan H. Ackler
Powerhouse (1973-1977)



=====================================
From: Brian Aldous <brian [at] tany.com>
Subject: Re: What's that light?
Date: Thu, 11 Nov 2004 22:50:28 -0500

Wow!

I have seen these bad boys before.  I was working as M.E. / ALD for a
summer outfit called NY Stage & Film, using the Powerhouse theatre at
Vassar College in the summer of 1988.  Because the designer was Don
Holder, I was of course using every available unit and then some.  I
found a mouldering pile these buried in storage and did my best to get
them rolling.  As I recall, the ellipsoidals were not worth the bother,
but the fresnels turned out to be pretty good - bright, nice fields
(better than a ParNel ? who can say.)  The manufacturer was in fact
Major Controls (as the cut sheet you posted indicates), long defunct
even then.  Their schtick was an early form of distributed dimming. The
idea was to place a dimmer on the yoke of each unit.  You were supposed
to run 120v AC AND a control cable (3-pin xlr) to each unit.  I don't
recall the nature of the controller - it had been replaced by a
Colotran Prestige 2000 (!) shortly before I arrived.

Now, maybe Major got ElectroControls to actually manufacture the units
(as suggested by others) but that does not ring a bell with me.  Surely
there is someone on this list older in the lighting biz than myself who
recalls these? At least I hope so.

   Anyway, i would suggest scrapping the lekos and salvaging the
fresnels, although you might want to be careful with the asbestos leads
on them.

BA

Brian Aldous
Lighting Design

brian [at] tany.com
On Nov 11, 2004, at 6:00 AM, Stagecraft wrote:


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

Reply-To: <mseddy2900 [at] hotmail.com>
From: "Michael S. Eddy" <mseddy2900 [at] hotmail.com>
Cc: Lamplighter [at] TCON.net ('Frank E. Merrill')
Subject: RE: Re[2]: What's that light?
Date: Fri, 12 Nov 2004 12:06:15 -0500
In-Reply-To: <list-4989576 [at] prxy.net>
Message-ID: <BAY21-DAV21bCdUg07M00007a24 [at] hotmail.com>

Frank Merrill said:

>with apologies to Michael Eddy's preference to keep further historical
>commentary to a minimum...Hahaha!

Frank,

You misunderstand my point; I actually love the history and have archived
your well written e-mails, as well as some of the others recently about this
thread. No my point was that I have a number of historical lighting items,
catalogs, etc, and I have worn-out my welcome with my wife in terms of
storage. She has accused me of operating a museum of theatrical lighting
history and has curtailed my acquisitions. 

The stories and the history are great and fill in a lot of blanks. The
recent history (70s - 80s) as well as much of our history of the lighting
industry are being lost and forgotten. I am a participant in the ESTA
History Project because I love the history of our industry and want to see
it preserved for future generations. 

You also said:
>although EC did explore using extruded aluminum panels in a few of their
>luminaires sometime after 1975.

I believe that EC worked on the extruded aluminum units in the early 80s. I
worked at Kliegl Bros at that time and we had a development project along
the same lines to play catch up with EC. This project was scrapped when
Kliegl picked up the US distribution of CCT fixtures from London with its
cutting edge modular construction. The downfall of the Kliegl/CCT deal was
that the Kliegl line would assemble the CCT units in the US to save on
import duty, but they didn't know anything about metric tools and fasteners,
so the assembly was not pretty! Also, we could not figure out how to sell a
Cadillac fixture in a Chevy marketplace that was at that time dominated by
Altman 360 ERS fixtures. It would take ETC's Source Four to clear that
hurdle. Also we could not overcome the US market's lack of interest in zoom
profiles.

So, to make a long post longer, please keep up the stories and the history
lessons. They are appreciated.

Michael Eddy

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

Date: Fri, 12 Nov 2004 12:10:27 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: What's that light?
Message-id: <4194EE83.3CC1B3D8 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4990366 [at] prxy.net>

"Michael S. Eddy" wrote:
> ---------------------------------------------------
No my point was that I have a number of historical lighting items,
> catalogs, etc, and I have worn-out my welcome with my wife in terms of
> storage. She has accused me of operating a museum of theatrical lighting
> history and has curtailed my acquisitions.

The museum is open to the general public from 10-3 on weekdays and
closed on weekends for Tech rehearsals.

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

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

Date: Fri, 12 Nov 2004 12:36:19 -0500
Subject: Re: The magic
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BDBA5EC3.4472%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-4988255 [at] prxy.net>

> One of the biggest irritations I find with our town is the regular comment
> from members of the public - "Oh! I didn't know we had a theatre! And I've
> lived here all me life!!"
> We've had a theatre here since 1969, and whilst the marketing hasn't always
> been ideal, it's been there!

    The Smith Opera House has stood here since 1894, and yet I often hear
the same comment from lifelong residents of the surrounding region when they
finally "discover" us: "I didn't even know you were here!"

    And this is in a small town where everyone seems to know or be related
to everyone else in some way! I refer to our theatre as "The best kept
secret of the Finger Lakes".

-- 
Bruce Purdy
Technical Director
Smith Opera House



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

From: FrankWood95 [at] aol.com
Message-ID: <ae.660ee308.2ec65a1f [at] aol.com>
Date: Fri, 12 Nov 2004 13:25:35 EST
Subject: Re: Projection

In a message dated 12/11/04 16:54:45 GMT Standard Time, dmaulny [at] earthlink.net 
writes:

> Ah yes, projection. It has to do with breathing from your diaphragm. 
>  (I had singing lessons when I was younger.) It's very useful to be 
>  able to be heard all over the arena when you want to. ("BREAK!") Or 
>  not use it, to quietly speak backstage. Glad Mom did that for me.

I learnt it as a (very bad) schoolmaster some 40 years ago. It meant that I 
could easilt superimpose my displeasure over that of my classes.

Frank Wood

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

Date: Fri, 12 Nov 2004 13:27:45 -0500
Subject: Re: What's that light?
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BDBA6AD1.2042%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-4990411 [at] prxy.net>

Somehow, a museum having tech rehearsals strikes
me a somewhat humorous.  I suspect that it's not
the museum, but the neighboring theatre that
is having the techs.

Steve


on 11/12/04 12:10 PM, Stephen Litterst at slitterst [at] ithaca.edu wrote:

> The museum is open to the general public from 10-3 on weekdays and
> closed on weekends for Tech rehearsals.



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

From: FrankWood95 [at] aol.com
Message-ID: <1a7.2ada7cdd.2ec65bdf [at] aol.com>
Date: Fri, 12 Nov 2004 13:33:03 EST
Subject: Re: Re[2]: What's that light?

In a message dated 12/11/04 17:07:58 GMT Standard Time, 
mseddy2900 [at] hotmail.com writes:

> This project was scrapped when
>  Kliegl picked up the US distribution of CCT fixtures from London with its
>  cutting edge modular construction. The downfall of the Kliegl/CCT deal was
>  that the Kliegl line would assemble the CCT units in the US to save on
>  import duty, but they didn't know anything about metric tools and 
fasteners,
>  so the assembly was not pretty! Also, we could not figure out how to sell a
>  Cadillac fixture in a Chevy marketplace that was at that time dominated by
>  Altman 360 ERS fixtures. It would take ETC's Source Four to clear that
>  hurdle. Also we could not overcome the US market's lack of interest in zoom
>  profiles.

I have often wondered about this, myself. Apart from a few antiques, and 
follow-spots, our whole stock of profiles is varivocal, to give it the right name. 
Given a skilled focusser, the versatility pays for the extra time, and may 
allow a reduction in the lantern count.

Does anybody know why?


Frank Wood

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

Date: Fri, 12 Nov 2004 14:11:19 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: What's that light?
Message-id: <41950AD6.D89A7628 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4990982 [at] prxy.net>

Steve Larson wrote:
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Somehow, a museum having tech rehearsals strikes
> me a somewhat humorous.  I suspect that it's not
> the museum, but the neighboring theatre that
> is having the techs.


I deliberately left it ambiguous.  Right!  That's it, I did it on
purpose, so people would think the museum loaned its collection out
for tech rehearsals.  :-D

Steve L.

> on 11/12/04 12:10 PM, Stephen Litterst at slitterst [at] ithaca.edu wrote:
> 
> > The museum is open to the general public from 10-3 on weekdays and
> > closed on weekends for Tech rehearsals.


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

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

In-Reply-To: <list-4991018 [at] prxy.net>
References: <list-4991018 [at] prxy.net>
Message-Id: <CA002208-34E0-11D9-A6E3-000A95823EDA [at] Nifty-Gadgets.com>
From: Paul Puppo <paul [at] Nifty-Gadgets.com>
Subject: Varivocal (Frank's word) Parellipsphere
Date: Fri, 12 Nov 2004 11:26:45 -0800

All things being equal, I've always liked the  Parellipspheres we had 
when I was at SDSU (a thousand years ago).

Except when I was calling the focus for my design and I was short crew 
and I had to send some in experienced people up to the catwalk.  (In 
college theatre crew there were 2 types of people, "theatre people" and 
"people taking extra credit".)

When I asked for a hard edge on the light (a Parellipsphere), the "crew 
member" asked from the catwalk, "how do I do that?"

I sighed, then explained how to focus a zoom instrument from 40' away, 
starting with "O.K. find the knob on the right hand side closest to 
you, no, not the yoke knob...", but i was more than mildly annoyed, 
they should have learned that in lighting lab by now and "on the job" 
was not the place to learn basics.  (yes, yes, yes, I know it was 
"school", but it was my show.  They didn't want to be there, and I 
didn't have the time for it.)

Just one of the charming little anecdotes that linger from my college 
days.  (I got a million of 'em, anecdotes and days...)

Paul Puppo

ILLUMINEERING

547 Green Street
San Francisco, CA
94133-3905

(415) 397-8776 phone/fax
http://www.Nifty-Gadgets.com

mailto:Paul [at] Nifty-Gadgets.com


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

Message-ID: <419510E1.1070000 [at] northnet.net>
Date: Fri, 12 Nov 2004 13:37:05 -0600
From: Shawn Palmer <shawnp [at] northnet.net>
Subject: zooms (was Re: What's that light?)
References: <list-4991018 [at] prxy.net>
In-Reply-To: <list-4991018 [at] prxy.net>


  I have often wondered about this, myself. Apart from a few antiques, and
> follow-spots, our whole stock of profiles is varivocal, to give it the right name. 
> Given a skilled focusser, the versatility pays for the extra time, and may 
> allow a reduction in the lantern count.
> 
> Does anybody know why?
> 
> 
> Frank Wood

Excellent question.  Cost?  There is a beautiful small space near me (an 
old opera house) where the vast majority of the on-stage ERS fixtures 
are zooms.   They are Altman 4.5 inch zooms, so they are not the 
"Cadillac," but the space always struck me as having quite a versatile 
lighting inventory.  FOH stuff was (is) Altman 6" and 8" 1K zooms.

To be fair it was reopened just before all the latest and greatest 
fixtures (S4 zooms, Selecon, etc.)

I really liked all the zoom ERS, though.

Shawn Palmer
Neenah, WI
USA






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

Message-Id: <CEBC3C29-34E6-11D9-BCCF-000D93B4343A [at] cd-romney.com>
From: Jason Romney <jason [at] cd-romney.com>
Subject: Sound workshop
Date: Fri, 12 Nov 2004 15:09:49 -0500

Hello Everyone,

Here at North Carolina School of the Arts we're planning a summer 
course that I'd like to request some feedback for.

We're going to host a workshop in theatre sound. The North Carolina 
School of the Arts offers one of the top theatre sound training 
programs in the country. We have top notch facilities with experienced 
and knowledgeable faculty who specialize in theatre sound design. 
Currently, the direction we're planning to take this is as a continuing 
education course for high school teachers and college instructors who 
find themselves teaching sound with little to no formal training in 
sound beyond that Intro to Technical Theatre class they took years ago 
in college. We could also make it available to technical directors and 
production managers of community theatre or small professional theatre 
who don't have a house sound person and need to brush up their sound 
chops.

So right now we're trying to gauge interest and find out what things to 
include. My thoughts now regarding content are SFX training, computer 
audio editing using Pro Tools, wireless mic mounting, etc.

What other topics would be useful?
How much time would you be willing to commit to this? 1 week? 2 weeks?
How much would you be willing to pay for a workshop like this?

We want this to be interesting and useful to people so any feedback you 
can offer as we begin planning things would be greatly appreciated.

Please reply on or off-list with your ideas or comments.

Thanks!

Jason Romney
Sound Design Instructor
North Carolina School of the Arts
jason [at] cd-romney.com
romneyj [at] ncarts.edu
http://www.ncarts.edu/ncsaprod/designandproduction/
http://www.cd-romney.com


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

Date: Fri, 12 Nov 2004 15:12:49 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: zooms (was Re: What's that light?)
Message-id: <41951941.EC5993C5 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4991018 [at] prxy.net> <list-4991522 [at] prxy.net>


> ---------------------------------------------------
> 
>   I have often wondered about this, myself. Apart from a few antiques, and
> > follow-spots, our whole stock of profiles is varivocal, to give it the right name.
> > Given a skilled focusser, the versatility pays for the extra time, and may
> > allow a reduction in the lantern count.
> >
> > Does anybody know why?

I have always considered it a matter of cost.  Using zooms would not
reduce the number of fixtures we own, as every show manages to use
every fixture.  (ok, the 6x22s have never been used I'll admit)  So we
can buy fixed focus Source 4s at $250 ea or Source 4 Zooms at (checks
price online) $385, and teach student designers to do the worksheets
to determine the right angle for the right position.

Second to cost is size.  Until the Strand SL zooms came out, the zoom
fixtures were substantially larger than their fixed focus cousins. 
That reduces the number of fixtures you can pack onto an electric or a
boom.  I've yet to meet a designer who prefers fewer options.  :)

Finally, I have to admit to inertia.  That's the way we've been
trained over here and that's what we pass on.  It's not a very good
reason, I admit.  But it is easily overcome if the first two reasons
can be dealt with.

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

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

From: <hep_cat [at] cox.net>
Subject: Re: Re: Kristi's "The Magic"
Date: Fri, 12 Nov 2004 15:21:22 -0500
Message-Id: <20041112202122.BLFH5535.lakermmtao06.cox.net [at] smtp.east.cox.net>

I've also sent it to one of the dressers.
> 
> From: Brendan Quigley <bcquigley [at] earthlink.net>
> Date: 2004/11/11 Thu PM 05:36:24 EST
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Kristi's "The Magic"
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> heythere Kristi ... so your message has been forwarded to the Head 
> Electrician for the show.
> 
> On Nov 11, 2004, at 5:00 AM, Stagecraft wrote:
> 
> > From: MissWisc [at] aol.com
> > Message-ID: <157.43647700.2ec461a5 [at] aol.com>
> > Date: Thu, 11 Nov 2004 01:33:09 EST
> > Subject: The magic
> >
> > Tonight, I took my son to see Big River at the Weidner Center in Green 
> > Bay,
> > WI. For those not familiar with this production, it's completely 
> > signed in ASL
> > (thanks to Linda Bove of Sesame Street fame) as well as spoken/sung. I 
> > saw it
> > in Dallas last summer from the nose bleed section and was hoping to 
> > get closer
> > seats this time to see more of the action. Mission accomplished.
> <snip>
> > I just tucked in one very tired 10 year old with a huge smile on his 
> > face. If
> > someone on this list has connections with Big River (and I'd bet there 
> > is!)
> > please pass this on as a letter of thanks from a greatful mom, drama 
> > teacher
> > and theatre lover.
> >
> > Kristi R-C
> 
> Kind Regards,
> 
> Brendan C. Quigley	
> Vari*Lite Technician/Electrician
> WICKED - A New Broadway Musical
> 
> 


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

Date: Fri, 12 Nov 2004 15:37:11 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Magic Followup
Message-id: <41951EF7.6A7B0CE0 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts

This morning we hosted 500+ elementary school children for a special
performance of Seussical.

I've done school matinees before (at other companies) and didn't have
fond memories.  High school kids get bored by Shakespeare and I didn't
remember much magic happening.

This morning was magical even for me.  By show of hands, most of the
kids had not been to a live performance (they're on the younger end of
elementary school).  When the house lights went down there was the
usual tittering and giggling.  When the stage lights came up you could
see the jaws dropping. At the first scene change I saw the winches
moving and drops flying out, but the "Wows" and "Ooohs" from the
audience reminded me that all they saw were trees moving by themselves
and a stage transforming.  

Backstage, every performer had a huge grin on whenever they came
offstage.  Despite getting up early, the cast and crew was energized
by the wonder happening in the audience.

It's good to see what we do through fresh eyes every now and again.

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

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

Subject: RE: Rigging System Standards
Date: Fri, 12 Nov 2004 15:39:02 -0500
Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C04D3EC94 [at] fangorn.cc.vt.edu>
From: "James, Brian" <bej [at] vt.edu>

Just what you want, a rigging system installed by the lowest bidder! :-0

Exactly, that's is what I am trying to avoid.

I appreciate everyone's input. With any luck (and maybe the odd prayer) =
I can get a good bidder.

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Greg
Persinger
Sent: Friday, November 12, 2004 3:28 AM
To: Stagecraft
Subject: Re: Rigging System Standards


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



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

Message-ID: <4195222E.3010600 [at] davidmarks.cc>
Date: Fri, 12 Nov 2004 15:50:54 -0500
From: David Marks <dave [at] davidmarks.cc>
Subject: Re: The magic
References: <list-4990576 [at] prxy.net>

Bruce Purdy wrote:

>And this is in a small town where everyone seems to know or be related
>to everyone else in some way! I refer to our theatre as "The best kept
>secret of the Finger Lakes".
>

You mean that big building up the street from Guard's Cards
and down the street from the old YMCA is a theater??
I'll be darned!

Dave Marks, former Finger Lakes lad (and related to people in Geneva)


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

Message-ID: <419521DA.4000707 [at] fredonia.edu>
Date: Fri, 12 Nov 2004 15:49:30 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Magic Followup
References: <list-4991835 [at] prxy.net>

As part of our educational outreach, we have been doing a High School 
Drama Day for many years.  We see students from a ten county area at 
least twice a year for a morning of workshops and an early matinee.  As 
much as we complain sometimes about the extra work, we all [fac and 
students] come away feeling as if we've brightened a few lives, judging 
by their responses.
Steve Rees

Stephen Litterst wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> This morning we hosted 500+ elementary school children for a special
> performance of Seussical.
>


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

Date: Fri, 12 Nov 2004 15:55:22 -0500
Subject: Re: Rigging System Standards
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BDBA8D69.10C4%bill [at] sapsis-rigging.com>
In-Reply-To: <list-4991847 [at] prxy.net>

on 11/12/04 3:39 PM, James, Brian at bej [at] vt.edu wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Just what you want, a rigging system installed by the lowest bidder! :-0
> 
> Exactly, that's is what I am trying to avoid.
> 
> I appreciate everyone's input. With any luck (and maybe the odd prayer) I can
> get a good bidder.

> Greg Persinger
> Vivid Illumination
> 
> Greg [at] Vividillumination.com
> 
>
Me!  Me!  Pick me!   I'm a good bidder.  Really!

Have a good weekend, folks.
Bill S.

www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.
 


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

In-Reply-To: <list-4990982 [at] prxy.net>
References: <list-4990982 [at] prxy.net>
Message-Id: <1D956BD6-34ED-11D9-9F35-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: What's that light?
Date: Fri, 12 Nov 2004 15:54:59 -0500

> Somehow, a museum having tech rehearsals strikes
> me a somewhat humorous.  I suspect that it's not
> the museum, but the neighboring theatre that
> is having the techs.

I am sure there are more than a few of us on the list that either have 
or are presently working in a theatre outfitted with "museum" fixtures 
on a daily basis.

Greg


Greg Bierly
Technical Director
Hempfield HS


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

Date: Fri, 12 Nov 2004 13:11:35 -0500
From: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Message-ID: <1537508475.20041112131135 [at] TCON.net>
Subject: Historical trivia about theatre

Hello!

Michael Eddy explained that he likes the historical stories but has
called a halt to accumulating hardware.  Here's a great li'l tidbit
for you young'uns:

Before the days of ellipsoidals (A tip of the Stetson to Chuck Levy
and Eddie Kook) and scoops, there were Plano spots and Olivettes, and
my story is about the Olivette.

To enable young'uns to visualize an Olivette, think of a scoop
floodlight viewed through a wildly astigmatic lens so it appears to be
shaped rather like a football.  A high wattage mogul screw based inside
frosted lamp bulb (a 1500IF or so) is standing proudly upright from
the bottom of the football.  Got the picture?

Father Roscoe Major presided over the unveiling of that new instrument
in the early 1950's and hosted a cocktail party in its honor. He
raised his martini glass in a toast to the un-named instrument's
success and immediately knew the name, inspired in the bottom of his
glass, impaled upon a little plastic sword.  With a flourish worthy of
our industry, he drew the little green fruit from his martini, held it
up towrd the instrument on display, and proclaimed "I dub thee
Olivette!"

Best regards,
 Frank E. Merrill
 MERRILL STAGE EQUIPMENT
 Established 1946
 Indianapolis  
 317: 255 4666

 Running The Bat! Natural e-mail system v3.0
          mailto:Lamplighter [at] TCON.net



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

Message-ID: <E4A88E2C1A02D943A0B743C2B253669C041F1468 [at] az33exm27.corp.mot.com>
From: Wood Chip-P26398 <Chip.Wood [at] motorola.com>
Subject: RE: Magic Followup
Date: Fri, 12 Nov 2004 14:04:51 -0700

There is a difference between Elementary and High School audiences however. We gave up on high school matinees a few years ago because of their disruptive and often out-spoken behavior.  While maybe 75% said "Ssshh" to the disruptive 25%, it just was not happening.  

When we changed to Elementary matinees the difference was remarkable.  The main problem is to get the teachers to allow the kids to enjoy themselves.  Most read them the riot act before coming over and the kids were afraid to breathe. 

BTW, I never go to a movie anymore where the predominant audience demographics are teenagers.  Even if I see that a small group are teens, I will head for another show. 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees

As part of our educational outreach, we have been doing a High School 
Drama Day for many years.  We see students from a ten county area at 
least twice a year for a morning of workshops and an early matinee.  As 
much as we complain sometimes about the extra work, we all [fac and 
students] come away feeling as if we've brightened a few lives, judging 
by their responses.
Steve Rees

Stephen Litterst wrote:
> This morning we hosted 500+ elementary school children for a special 
> performance of Seussical.
>

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

From: IAEG [at] aol.com
Message-ID: <15d.439f2f73.2ec680a1 [at] aol.com>
Date: Fri, 12 Nov 2004 16:09:53 EST
Subject: Re: Historical trivia about theatre


In a message dated 11/12/04 4:01:23 PM, Lamplighter [at] TCON.net writes:

<< To enable young'uns to visualize an Olivette, think of a scoop
floodlight viewed through a wildly astigmatic lens so it appears to be
shaped rather like a football.  A high wattage mogul screw based inside
frosted lamp bulb (a 1500IF or so) is standing proudly upright from
the bottom of the football.  Got the picture? >>


Frank, , to me an OLIVETTE was a large, , usually floor stand mounted 
rectangular shaped light, , took about a full sheet of gel, , with straight sloping 
sides (not curvilinear) of a non or barely reflective material, , with a 
usually clear, un frosted mogul screw base lamp.

Don't ever recall a football'esque shape, , 

very best, 

Keith Arsenault
International Arts & Entertainment Group
Tampa, FL

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

Date: Fri, 12 Nov 2004 16:20:18 -0500
From: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Message-ID: <658511306.20041112162018 [at] TCON.net>
Subject: Re[4]: What's that light?
In-Reply-To: <list-4991018 [at] prxy.net>
References: <list-4991018 [at] prxy.net>

Howdy!

Friday, November 12, 2004, Frank Wood wrote concerning variable focus
instruments:

Fac> our whole stock of profiles is varivocal, to give it the right name.

I'll step right up and admit that I hadn't encountered the word
"varivocal" before, but wouldn't it more appropriately be "Varifocal?"
I would think that "Varivocal" would more appropriately refer to a
singer with an unusually wide range.

Best regards,
 Frank E. Merrill
 MERRILL STAGE EQUIPMENT
 Eastablished 1946
 Indianapolis  
 317: 255 4666

 Running The Bat! Natural e-mail system v3.0
         mailto:Lamplighter [at] TCON.net



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

Message-Id: <6.1.2.0.0.20041112164056.01bab3f8 [at] mail.insightbb.com>
Date: Fri, 12 Nov 2004 16:45:16 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Rigging System Standards
In-Reply-To: <list-4991847 [at] prxy.net>
References: <list-4991847 [at] prxy.net>

<html>
<body>
A minor correction: &quot;lowest <u>qualified</u> bidder.&quot;&nbsp;
There's a big difference, there.&nbsp; Presumably, then, you are getting
the best value for your dollars by setting minimum acceptable
qualifications--meaning that any of your bidders would be a good
contractor, the only difference then is price.<br><br>
It should not be a matter for luck or prayer.&nbsp; Specifications set
the standards by which the contractor is judged.&nbsp; You may even be
able to &quot;prequalify&quot; an acceptable set of contractors, who will
then competively bid for your dollars.<br><br>
Mike<br><br>
At 03:39 PM 11/12/2004, James, Brian wrote:<br>
<blockquote type=cite class=cite cite="">Just what you want, a rigging
system installed by the lowest bidder! :-0<br><br>
Exactly, that's is what I am trying to avoid.<br><br>
I appreciate everyone's input. With any luck (and maybe the odd prayer) I
can get a good bidder.</blockquote></body>
</html>


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

Message-ID: <90d9c9980411121349255e963a [at] mail.gmail.com>
Date: Fri, 12 Nov 2004 16:49:48 -0500
From: Scott Parker <scparker [at] gmail.com>
Reply-To: Scott Parker <scparker [at] gmail.com>
Subject: USITT Toronto: Where to stay....

So, where's the party?!? Where are people staying?
I'm looking at the hotels for March and the price range for the USITT
hotels run from around $150 for the Holiday Inn to around $250 for the
Intercontinental. The third falls in between. Amounts are in Canadian.

-- 
Take care, Scott

Scott C. Parker

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

Date: Fri, 12 Nov 2004 16:50:40 -0500
From: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] TCON.net>
Message-ID: <63978981.20041112165040 [at] TCON.net>
Subject: Re[2]: Historical trivia about theatre
In-Reply-To: <list-4992143 [at] prxy.net>
References: <list-4992143 [at] prxy.net>

Howdy!

Friday, November 12, 2004, Keith Arsenault wrote:

Iac> an OLIVETTE was a large, usually floor stand mounted rectangular
Iac> shaped light, took about a full sheet of gel, , with straight
Iac> sloping sides (not curvilinear) of a non or barely reflective
Iac> material, with a usually clear, un frosted mogul screw base lamp.

Well dang.  It SOUNDED like a great story....

Best regards,
 Frank E. Merrill
 MERRILL STAGE EQUIPMENT
 Eastablished 1946
 Indianapolis  
 317: 255 4666

 Running The Bat! Natural e-mail system v3.0
         mailto:Lamplighter [at] TCON.net



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

Message-ID: <419531CD.D5CBC936 [at] cybercom.net>
Date: Fri, 12 Nov 2004 16:57:33 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Varivocal 
References: <list-4991018 [at] prxy.net> <list-4991396 [at] prxy.net>

    A friend of mine used to have a varivocal cat.  Siamese.
One night it was so loud that he put it out into the garage
so he could get some sleep.  The police woke him up shortly
thereafter.  The neighbors had called the police to report a
malfunctioning car alarm.

    --Dale



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

From:     Joseph Champelli <champelli [at] knology.net>
Date: Fri, 12 Nov 2004 17:13:31 -0500
Reply-To:<champelli [at] knology.net>
Subject: Scenic Design position available.
Message-ID: <auto-000004992535 [at] prxy.net>

Hello all,

The University of Tennessee in Knoxville has an opening for head=
 of Scenic Design.

I am new to this faculty, but I've found it to be a great place=
 to work.  Of the many benefits is the ability to do work outside=
 the department.  In fact, you are not only encouraged and=
 supported in professional development, it's a requirement for=
 tenure.  All department shows are produced by the Clarence Brown=
 Theatre, a fully staffed LORT theatre.  If you have any=
 questions, please email me off-list.

Thanks, 

Joe


Here's the official listing:

----
Head of MFA Scene Design

The Department of Theatre at The University of Tennessee seeks=
 applications for the position of Head of MFA Scene Design.  The=
 department is located in Knoxville, the flagship campus of the=
 University of Tennessee, near the Smoky Mountains.  The=
 department is associated with the Clarence Brown Theatre (CBT),=
 a LORT theatre which presents six professional and student=
 productions per season, offering substantial opportunities to=
 work with national and international directors, actors,=
 designers, and dramaturgs.  The department offers a BA on the=
 undergraduate level and an MFA in performance, set, costume, and=
 lighting design.  Responsibilities: The successful candidate=
 will design professional shows for the CBT in Knoxville, teach=
 scene design on the graduate level with limited responsibilities=
 on the undergraduate level, work in a collaborative environment=
 with design faculty in costume and lighting, supervise the=
 design work of the graduate students for the CBT, recruit strong=
 students for the design program, and organize and coordinate=
 design workshops with national and international artists in=
 Knoxville and Salzburg, Austria. The department also strongly=
 encourages and supports designing at other national or=
 international  theatres.  Qualifications and desirable skills:=
 The successful candidate should have an MFA in Scenic Design or=
 equivalent professional experience, a demonstrable record in the=
 professional theatre, teaching experience at the graduate level,=
 skills in scene painting, hand and computer rendering, and=
 membership in United Scenic Artists. The successful candidate is=
 expected to stay active professionally to be considered for=
 tenure and promotion.   Rank: Assistant Professor.  Salary:=
 competitive.   Application:  send letter of application,=
 curriculum vitae, and portfolio to Klaus van den Berg, Design=
 Search Committee Chair, Department of Theatre, 206 McClung=
 Tower, University of Tennessee, Knoxville, TN 37996.  Digital=
 portfolios are welcome.  Review of applications will begin=
 January 3 and continue until the position is filled.
----

end listing


Joseph Champelli
University of Tennessee Department of Theatre
Professor of Entertainment Technology
865.974.7069 office 702.429.5859 cell 775.206.6078 fax
champelli [at] knology.net - home                             =
 jchampel [at] utk.edu - office



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

Message-ID: <002c01c4c904$f8d7a230$011c2ad9 [at] Tony>
From: "Tony" <deeming.tony [at] btinternet.com>
References: <list-4991835 [at] prxy.net>
Subject: Re: Magic Followup
Date: Fri, 12 Nov 2004 22:14:18 -0000

I've done a couple of simple tech demo's for junior school kids over here -
nothing amazing - colour washes, UV, strobe, show them a few lights with a
bit of hands-on, sound effects, pyro etc etc.
Usually only around 40 or so max, but they all went out raving about the
fact that they'd seen something different and actually TOUCHED a
lighting/sound desk and MADE something HAPPEN!!!

Spoilt rather, though, on one of them when a bright spark piped up saying
"Ere - my mum went to school wiv you!!"
And sure enough, there waiting at the door to collect the darling was a face
I'd not seen for years - made me feel a bit old, tho!!

8-)))

Ynot


----- Original Message ----- 
From: "Stephen Litterst" <slitterst [at] ithaca.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Friday, November 12, 2004 8:37 PM
Subject: Magic Followup


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> This morning we hosted 500+ elementary school children for a special
> performance of Seussical.
>
> I've done school matinees before (at other companies) and didn't have
> fond memories.  High school kids get bored by Shakespeare and I didn't
> remember much magic happening.
>
> This morning was magical even for me.  By show of hands, most of the
> kids had not been to a live performance (they're on the younger end of
> elementary school).  When the house lights went down there was the
> usual tittering and giggling.  When the stage lights came up you could
> see the jaws dropping. At the first scene change I saw the winches
> moving and drops flying out, but the "Wows" and "Ooohs" from the
> audience reminded me that all they saw were trees moving by themselves
> and a stage transforming.
>
> Backstage, every performer had a huge grin on whenever they came
> offstage.  Despite getting up early, the cast and crew was energized
> by the wonder happening in the audience.
>
> It's good to see what we do through fresh eyes every now and again.
>
> Steve L.
> -- 
> 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: <1dc.2fe83ce5.2ec69108 [at] aol.com>
Date: Fri, 12 Nov 2004 17:19:52 EST
Subject: Re: Varivocal (Frank's word) Parellipsphere

OK, I should like to meet the guy who designed the QWERTYUIOP keyboard 
layout. It is all too easy to perpetrate typos. Despite the frequency tables for 
English, it is surprising how many of the less common letters get used often, and 
how close some of them are together. Which of us has not typed 'teh' for 
'the'; 'uoy' for 'you'; and 'ans' for 'and'?

I try to eliminate them, but I don't always win. For "varivocal" read 
"varifocal". It's a more accurate description of their properties. A pukka zoom lens, 
such as you may find on a camera, maintains its focus while changing focal 
length. Those on stage lanterns don't.


Frank Wood

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

Subject: Re: What's that light?
Date: Fri, 12 Nov 2004 17:37:38 -0500
Message-ID: <35F89F34F3823843AC908D726CB64F2735A1DC [at] EXCHANGE2.prg.com>
From: "Marc Palmer" <MPalmer [at] prg.com>

Ok, now I have to jump in. The only reason (other than being a geek) I =
recognize these units is because I was ME at the Powerhouse at Vassar =
for NY Stage & Film ten years after Brian. Sad to say, the Major =
fresnels and the Prestige 2000 were still in use. The accessory size is =
something like 9-3/4" or 10-1/4". Something just close enough to the =
other house fresnels to be aggravating. Decent light though. Now that I =
think of it, the Major fresnels performed better than the Colortran =
board. The college used two of the ellipsoidals to hold open the theatre =
lobby doors, which seemed like a pretty good use to me.

Marc

------
Brian Aldous wrote:

I have seen these bad boys before.  I was working as M.E. / ALD for a=20
summer outfit called NY Stage & Film, using the Powerhouse theatre at=20
Vassar College in the summer of 1988.  Because the designer was Don=20
Holder, I was of course using every available unit and then some.
...
it had been replaced by a Colotran Prestige 2000 (!) shortly before I =
arrived.
...
  Anyway, i would suggest scrapping the lekos and salvaging the=20
fresnels, although you might want to be careful with the asbestos leads=20
on them.
------

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

From: FrankWood95 [at] aol.com
Message-ID: <80.1aa131d1.2ec6968a [at] aol.com>
Date: Fri, 12 Nov 2004 17:43:22 EST
Subject: Re: zooms (was Re: What's that light?)

In a message dated 12/11/04 20:13:46 GMT Standard Time, slitterst [at] ithaca.edu 
writes:

> Second to cost is size.  Until the Strand SL zooms came out, the zoom
>  fixtures were substantially larger than their fixed focus cousins. 
>  That reduces the number of fixtures you can pack onto an electric or a
>  boom.  I've yet to meet a designer who prefers fewer options.  :)

Interesting. In the UK, varifocal lanterns caught on, to the extent that you 
would have had to work at it to find anything else, to be bought new. And they 
are little, if any, bigger than their fixed focus friends, when these exist. 
A basic Strand Prelude 16/40 is 4" square and 2' long, about. 650W. It's big 
brother, the 1KW Harmony, was much less satisfactory. 6" square, 2'6" or more 
long, and weighing, figuratively, half a ton was bad news.

CCT got it right, in general. There were a few problems with the lens locking 
screws, and with the big lamphouse. But, in terms of what came out of the 
front, they worked well.
>  
>  Finally, I have to admit to inertia.  That's the way we've been
>  trained over here and that's what we pass on.  It's not a very good
>  reason, I admit.  But it is easily overcome if the first two reasons
>  can be dealt with.

We all suffer from this. Lantern design was static for a good while, and we 
knew how to use the gear we had learnt our trade on. 



Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <129.4fcb19cd.2ec69741 [at] aol.com>
Date: Fri, 12 Nov 2004 17:46:25 EST
Subject: Re: Re[4]: What's that light?

In a message dated 12/11/04 21:21:20 GMT Standard Time, Lamplighter [at] TCON.net 
writes:

> I'll step right up and admit that I hadn't encountered the word
>  "varivocal" before, but wouldn't it more appropriately be "Varifocal?"

Yes, it would. Typo!

Frank Wood

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

From: MissWisc [at] aol.com
Message-ID: <1d9.2fb18003.2ec69a9f [at] aol.com>
Date: Fri, 12 Nov 2004 18:00:47 EST
Subject: Re:  Sound workshop
Cc: jason [at] cd-romney.com

In a message dated 11/12/4 2:10:49 PM, jason [at] cd-romney.com wrote:
<<My thoughts now regarding content are SFX training, computer audio editing 
using Pro Tools, wireless mic mounting, etc.>>

If you're talking to HS teachers, I'd start very simple.

Basics of acoustics... i.e., how the sound path happens 
    from your mouth to my ear
    from your mouth through the PA to my ear
    from your mouth to the tape then from the tape to my ear.
Microphone type/selection (how to make sense of the data from manufacturers 
re:   direction and response. wired vs. wireless... commonly used mics)
Mic placement (e.g. by the mouthpiece rather than the far end of the flute)
Care of cables/plugs, how to coil correctly, storage, common connector names
Care of equpment (when to turn on what and why)
Speaker placement, delays, feedback, what an "audio standing wave" is
Board operation... pan, echo, running playback while doing PA, etc. 
    Stick to options common to all sound boards. Define all terms. Demo both 
right and wrong so they can hear the differences.
I'd also suggest some print info on copyrights/securing grand rights for play 
back. 

Total time: 4 days - Monday through Thursday with an optional workshop on 
Friday for the software editing. (Add $100 for Friday AM editing software 
tutorial with the lab open Friday afternoon for people to play). 

Cost would depend on undergrad/graduate credit (please DO offer it if you 
can!) and room/board/etc. I'd expect it to run $250 workshop fee plus $100-300 
per credit for 2-3 credits plus $150-250 room & board. 
Could do 1 credit - work shop only, 
2 credit workshop plus Friday lab, 
3 credit workshop, lab, and independent project. 

So, with 3 graduate credits and the lab, total cost would be around $1,500. 
Might be able to get the software manufacturer to sponsor part of the cost - or 
give a copy of the software to attendees. 

Your non-profit theatre folks can get the knoweldge for about $100 a day 
($250 fee, plus room/board) and that's CHEAP for a seminar like this. 

HTH

Kristi

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

From: IAEG [at] aol.com
Message-ID: <1e.384d83b9.2ec69c25 [at] aol.com>
Date: Fri, 12 Nov 2004 18:07:17 EST
Subject: Re: Re[2]: Historical trivia about theatre


In a message dated 11/12/04 4:51:38 PM, Lamplighter [at] TCON.net writes:

<< Howdy!

Friday, November 12, 2004, Keith Arsenault wrote:

Iac> an OLIVETTE was a large, usually floor stand mounted rectangular
Iac> shaped light, took about a full sheet of gel, , with straight
Iac> sloping sides (not curvilinear) of a non or barely reflective
Iac> material, with a usually clear, un frosted mogul screw base lamp.

Well dang.  It SOUNDED like a great story....

Best regards, >>



frank, , not saying your wrong, , , we all know that different pieces of 
equipment can be called different things around the globe, , 

very best, 

Keith Arsenault
International Arts & Entertainment Group
Tampa, FL

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

Message-ID: <35e1805a0411121550621bab07 [at] mail.gmail.com>
Date: Fri, 12 Nov 2004 17:50:16 -0600
From: Sean Evans <morydd [at] gmail.com>
Reply-To: Sean Evans <morydd [at] gmail.com>
Subject: Re: Polite request
In-Reply-To: <list-4984306 [at] prxy.net>
References: <list-4981744 [at] prxy.net> <list-4984156 [at] prxy.net>
	 <list-4984306 [at] prxy.net>

On Thu, 11 Nov 2004 23:01:42 -0000, Tony Deeming
<deeming.tony [at] btinternet.com> wrote:

> I don't keep, as a matter of housekeeping, all messages on the list - if I
> did I'd have thousands of e-mails sitting clogging up the folder here.This
> means that if someone posts without some reference, it's darned hard to
> sometimes see what the devil they're on about, especially if time has passed
> since the original topic was raised.
> 

I've moved most of my subscriptions to high-traffic lists over to
G-mail. That way I can, in fact keep all the old ones to refer to in
the future. They don't fill my "regular" mail box, and I get all that
lovely Google search power if I want to look for stuff mentioned
previously. I've got a few invites if anyone wants one.

--Sean T. Evans

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

Message-ID: <01f601c4c91f$dc2073e0$d39e1518 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-4990982 [at] prxy.net> <list-4992013 [at] prxy.net>
Subject: Re: What's that light?
Date: Fri, 12 Nov 2004 17:26:53 -0800

>
> I am sure there are more than a few of us on the list that either have or 
> are presently working in a theatre outfitted with "museum" fixtures on a 
> daily basis.
> Greg Bierly

     My favorite of our (too numerous) museum fixtures is a lumpy 
ellipsoidal that sits over in the corner, where it has resided unused for 20 
years or more.
In faded black marker on a strip of masking tape, it proclaims, 'STRANGE 
LENS.'  And, indeed, upon inspection, it has a strange lens.  And an unknown 
quantity of missing parts.  All the designers just refer to it as 'strange 
lens,' as if it were a mascot or exotic pet, and occasionally push it into a 
different corner.  Our fondest dream is that someday we might own enough 
useful equipment that we would be forced to junk it, to reclaim the storage 
space it occupies.



_____
I can't guarantee that this will stop terrorism, but whatever you're doing 
now isn't working. 



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

In-Reply-To: <list-4979208 [at] prxy.net>
References: <list-4979208 [at] prxy.net>
Message-Id: <F4D38428-34A8-11D9-9ED9-000A95BD64AC [at] earthlink.net>
From: Sunil Rajan <squeakypig [at] earthlink.net>
Subject: Re: Theatrical architecture
Date: Fri, 12 Nov 2004 04:47:05 -0800

		
On Nov 11, 2004, at 3:00 AM, Stagecraft wrote:

> Moore, Martin W. wrote:
>
>> Prestigious architects etc. continue to screw up theatres.  There's a
>> new one round the corner from me - Skirball in NYU's Kimmel Center,
>> where, for one example, the front of house circulation is a nightmare.
>>
>>
I have the good fortune to be working in new theatre (Kodak Theatre, 
Hollywood, 3 yrs old) that looks, acts, and feels like a theatre that 
was actually purpose built!!  Lots of little touches, like independent 
power tie lines (w/or w/o Camlock tails) SR and SL for electrics, USR 
for audio (isolated), a tie in for mobile/broadcast trucks, multiple 
camera positions, a real "Media Pit" for FOH, that is recessed from the 
main seating banks, all backstage hallways are lined to about 4' high 
with painted plywood with reinforced corners (anyone played 'roadbox 
shuffleboard'?). Giant hydraulic doors that open the backwal/loading 
dock, the secondary back wall, as well as an additional  4 covered 
truck docks.  a freight elevator with double-wide doors that will fit 
almost any roadbox.  And that's just backstage/stage production issues 
that normally hose you on load-in.  Kudos to the companies that did 
this place!

Cheers,
Sunil Rajan
Freelance Audio Mercenary


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

From: "Andy Leviss" <Andy [at] DucksEchoSound.com>
Subject: RE: Magic Followup
Date: Fri, 12 Nov 2004 21:15:47 -0500
Organization: Duck's Echo Sound
Message-ID: <000001c4c926$b302ec70$a19afea9 [at] AndyLeviss>
In-Reply-To: <list-4991835 [at] prxy.net>

Steve Litterst wrote:
> I've done school matinees before (at other companies) and 
> didn't have fond memories.  
--snip--
> This morning was magical even for me.  
--snip-- 
> When the stage lights came up you could see the jaws dropping. At 
> the first scene change I saw the winches moving and drops 
> flying out, but the "Wows" and "Ooohs" from the audience 
> reminded me that all they saw were trees moving by themselves 
> and a stage transforming.  
--snip--
> It's good to see what we do through fresh eyes every now and again.

I know exactly what you mean, Steve. I've been out with one of the
Sesame Street Live shows for just over two months now, and some days it
still surprises (and pleases) me how a show that to my jaded eyes is so
low tech is pure magic to the kids in the audience. I see a black and
white scrim getting pulled off stage right to reveal a colored drop; the
kids see Sesame Street magically get it's color back.

Today we had a morning show that was packed with 3500 people, mostly
young school and daycare groups, and the screams and cheers were
absolutely incredible. It was readily apparent how much added energy
that gave to the performers (both Muppets and human ;o) even those who
were up at 4 in the morning along with a few of us on the crew for a
live feed to a local morning show. It's times like that when I realize
that just because this tour isn't a major Broadway musical, it isn't
just as important and special to the audiences who come to it.

--Andy Leviss
Sound Engineer, Sesame Street Live: Elmo's Coloring Book
This week: Columbia, SC
Next week: Dekalb, IA and Green Bay, WI

---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.786 / Virus Database: 532 - Release Date: 10/29/2004
 


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

Date: Fri, 12 Nov 2004 22:07:27 -0500
Subject: re:Rigging System Standards
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BDBAE49F.10ED%bill [at] sapsis-rigging.com>

on 11/12/04 4:45 PM, Mike Brubaker at mdbrubaker [at] insightbb.com wrote:

A minor correction: "lowest qualified bidder." There's a big difference,
there.  Presumably, then, you are getting the best value for your dollars by
setting minimum acceptable qualifications--meaning that any of your bidders
would be a good contractor, the only difference then is price.

It should not be a matter for luck or prayer.  Specifications set the
standards by which the contractor is judged.  You may even be able to
"prequalify" an acceptable set of contractors, who will then competively bid
for your dollars.
>>


Yeah, but when the project comes in over budget (and what one doesn't these
days) the architect, who gave them a too low budget in the first place,
re-opens the bid to anyone and everyone.  And *that's* when you tend to get
the junk equipment.

Bill S.

www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.


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

Message-Id: <p06110409bdbb2e523ad2 [at] [172.16.1.37]>
In-Reply-To: <list-4992068 [at] prxy.net>
References: <list-4992068 [at] prxy.net>
Date: Fri, 12 Nov 2004 23:20:26 -0500
From: Eddie Kramer <ESKramer [at] earthlink.net>
Subject: Re: Historical trivia about theatre

On   11/12/04   Frank E. Merrill   sent:

>To enable young'uns to visualize an Olivette,
<<<<<<<<<<CUT>>>>>>>>>>><<<<<<<<<<CUT>>>>>>>>>>><<<<<<<<<<CUT>>>>>>>>>>>
>Father Roscoe Major presided over the unveiling of that new instrument
>in the early 1950's

On page 69 of _Theater Lighting; A Manual of the Stage Switchbord_ is a Light Plot (called a light diagram) for act I of _The Rose of the Rancho_, (Produced and Written by David Belasco the show opened on 12/30/1907 at the Academy of Music on 14th St.) that shows 4 Olivettes up stage of the set. A list of equipment used in act I of this show is on page 68 and lists; "Back of wall Right two olivettes to light drop." and "Back of wall Left two olivettes to light drop.".

Mr Hartmann also writes about olivettes in other places in the book. He was  "Chief Electrican to David Belasco since 1901" and talks about the out of town try-outs in Boston for The Rose of the Rancho.

Figure 3.41 in Izenour's _Theater Technology_ is of an "open electric carbon-arc olivette" "(Drawing from Theater Lighting Past and Present, Ward-Leonard, 1923)"

Eddie


-- 
--------------------
Eddie Kramer  IATSE #1     Member NEC Panel 15            

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

Date: Fri, 12 Nov 2004 22:55:49 -0600
Subject: Re: Sound workshop
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BDBAEFF4.825C%gregpersin [at] comcast.net>
In-Reply-To: <list-4991632 [at] prxy.net>

> Hello Everyone,
> 
> Here at North Carolina School of the Arts we're planning a summer
> course that I'd like to request some feedback for.
> 
> We're going to host a workshop in theatre sound.

I'm a lighting guy so I'm sure if you put me behind a sound console I could
provide a lot of feedback. Let me know if you need my help.

Sincerely,

Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com

P.S. Best wishes to you in your endeavor!



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

Date: Sat, 13 Nov 2004 00:15:01 -0500
Subject: Movin' Out Tour at the National Theatre
From: Mike Benonis <mbenonis_lists [at] mac.com>
Cc: theatre-sound [at] listserv.aol.com (Theatre Sound)
Message-ID: <BDBB0285.2C48F%mbenonis_lists [at] mac.com>

Is anyone involved with, or does anyone know someone involved with the
Movin' Out tour that will be at the National Theatre this November/December
(specifically the sound folks)?  I will be going to the December 5th matinee
show with our school drama department and would be interested in meeting the
sound crew if possible.

Thanks,

-Mike Benonis
Senior and Sound Designer/Technician
Stone Bridge High School
43100 Hay Road
Ashburn, VA 20147
(703) 779-8900



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

Subject: RE: Rigging System Standards
Date: Sat, 13 Nov 2004 01:18:54 -0500
Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C04D3EC98 [at] fangorn.cc.vt.edu>
From: "James, Brian" <bej [at] vt.edu>

That's the approach I am hoping to take. Just have to figure out which =
red tape to cut to get where we need.

Should be amusing for whoever gets the bid, and hopefully educational =
for me!


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Bill
Sapsis
Sent: Friday, November 12, 2004 10:07 PM
To: Stagecraft
Subject: Re: Rigging System Standards


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

on 11/12/04 4:45 PM, Mike Brubaker at mdbrubaker [at] insightbb.com wrote:

A minor correction: "lowest qualified bidder." There's a big difference,
there.  Presumably, then, you are getting the best value for your =
dollars by
setting minimum acceptable qualifications--meaning that any of your =
bidders
would be a good contractor, the only difference then is price.

It should not be a matter for luck or prayer.  Specifications set the
standards by which the contractor is judged.  You may even be able to
"prequalify" an acceptable set of contractors, who will then competively =
bid
for your dollars.
>>


Yeah, but when the project comes in over budget (and what one doesn't =
these
days) the architect, who gave them a too low budget in the first place,
re-opens the bid to anyone and everyone.  And *that's* when you tend to =
get
the junk equipment.

Bill S.

www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.


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

Subject: Fine arts center management
Date: Sat, 13 Nov 2004 01:29:14 -0500
Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C04D3EC9A [at] fangorn.cc.vt.edu>
From: "James, Brian" <bej [at] vt.edu>

Greetings all. I have been given a new and exciting task today, and =
hoped maybe I could cheat a little by collecting some information from =
here.

The university I work for is in the process of determining a management =
structure for a new proposed fine arts center on campus. Currently we =
know there is a proscenium theatre and some art galleries, and not sure =
what else (often times the wish list is bigger than the budget).

Does any one on this list happen to work for a university (or non-profit =
organizations) with a fine arts center that may be able to provide some =
insight about how your venue is managed, what works, what doesn't etc?

I deal strictly with production issues on campus, however I have been =
asked to look into the entire structure and make recommendations about =
the booking of the venue, as well as the more day to day operational =
issues associated with the venue.=20

If possible I would love to get my hands on some current organizational =
charts, basic job descriptions and other such fun stuff

Any and all help is appreciated, if you would prefer to email me =
directly please use bej [at] vt.edu

Thank you ahead of time!

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

Message-ID: <021401c4c958$e6eb6cb0$6501a8c0 [at] chris>
From: "Chris Warner" <bearz2 [at] cox.net>
References: <list-4995294 [at] prxy.net>
Subject: Re: Fine arts center management
Date: Sat, 13 Nov 2004 00:15:13 -0800


> ----- Original Message ----- 
> From: "James, Brian" <bej [at] vt.edu>
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Sent: Friday, November 12, 2004 10:29 PM
> Subject: Fine arts center management


> Does any one on this list happen to work for a university (or non-profit
> organizations) with a fine arts center that may be able to provide some
> insight about how your venue is managed, what works, what doesn't etc?

In the community theatre I work in, there is an attached Art Galary managed
by a seperate group, while the theatre itself is managed by the theatre
troop.  Of course there is no internal common area between the theatre and
the art galary, the theatre built circa 1940's, didn't require that
especially in Southern California.  You milage may very.

Good luck
Chris


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

End of Stagecraft Digest #194
*****************************