Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 14627919; Mon, 17 Jan 2005 03:01:04 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #262 Date: Mon, 17 Jan 2005 03:00:50 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #262 1. Beam Ceiling Rigging by "Steve" 2. Archives by "Paul Guncheon" 3. Re: Beam Ceiling Rigging by usctd [at] columbia.sc 4. Re: Caribeners (was quick links) by usctd [at] columbia.sc 5. Re: Bill McManus by JT 6. Re: Beam Ceiling Rigging by "Delbert Hall" 7. Re: Bill McManus by "Jonathan S. Deull" 8. Re: Caribeners by zhamm [at] email.unc.edu 9. Re: Caribeners (was quick links) by CB 10. Re: Caribeners (was quick links) by "Jeffrey E. Salzberg" 11. Re: Beam Ceiling Rigging by FrankWood95 [at] aol.com 12. Re: June's quick link post by Marty_Petlock [at] sarasotagov.com 13. Re: Caribeners (was quick links) by FrankWood95 [at] aol.com 14. Re: June's quick link post by IAEG [at] aol.com 15. Re: June's quick link post by "Tom Heemskerk" 16. Re: Archives by Mat Goebel 17. Re: Caribeners (was quick links) by usctd [at] columbia.sc 18. Re: OSHA/NFPA Redulations for Theatre by "Bill Conner" 19. Re: OSHA/NFPA Redulations for Theatre by "ladesigners [at] juno.com" 20. Re: OSHA/NFPA Redulations for Theatre by "Jonathan Wills" 21. Re: OSHA/NFPA Redulations for Theatre by Mike Brubaker 22. Re: OSHA/NFPA Redulations for Theatre by "Bill Conner" 23. Re: Stage Manager Interviews by "Alf Sauve" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <006001c4fbcf$fa927200$5d7e7244 [at] D78YGH41> From: "Steve" Subject: Beam Ceiling Rigging Date: Sun, 16 Jan 2005 07:33:34 -0600 Greetings, I have to rig a beam ceiling to tour. Of course, the design was never intended to tour. The ceiling unit is made up of 10 beams. They are all about 1' X 1' X 10'. The beams are constructed out of 1 X 2 covered with 1/8" luan. The end caps are 3/4" ply. Everything was nailed and glued. They are fairly light with the largest one weighing maybe 40 lbs. Originally, I mounted hanging irons on the inside of beam, so the turnbuckles were hidden. The hanging irons were though bolted to a piece of 3/4" ply, that was also through bolted to the beam. The beams form a large rectangle, and at the corners there are three turnbuckles. How is the best way to tie the three turnbuckles together? I can't really use a shackle, it won't fit through three turnbuckles. Is it OK to use a loop of aircraft cable with a shackle? And tie it all to a single point? Thanks in advance, Steve Schepker Southeastern Louisiana University ------------------------------ Message-ID: <005301c4fbd8$5fdbbb00$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Archives Date: Sun, 16 Jan 2005 04:33:39 -1000 It appears the stagecraft archives cannot be accessed or searched. What's up with that... or is it just me and my pathetic computer? Paul Guncheon (currently Art Director for Discovery Network's "29 Down", a new children's show... think "Lost" done with kids but with no violence). "All you other committee members are gonna have to stand on your own two feet" said Tom, taking the chair. ------------------------------ Message-ID: <9407.24.168.209.168.1105887459.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Sun, 16 Jan 2005 09:57:39 -0500 (EST) Subject: Re: Beam Ceiling Rigging From: usctd [at] columbia.sc Not sure I understand exactly what is going on at that corner, but would a pear ring be an option? I guess this would depend on the angle that those turnbuckles would be at and the forces that would generate on your piece. (I assume you are using appropriate turnbuckles, although some may say you should not be using them overhead at all. Frankly for the weight you are quoting, I don't see its a problem) Another way to go may be a piece of flat bar or plate (1/8" or 3/16") that you could customize with holes where you need them to make a sort of clew plate? -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > > The beams form a large rectangle, and at the corners there are three > turnbuckles. How is the best way to tie the three turnbuckles together? > I can't really use a shackle, it won't fit through three turnbuckles. Is > it > OK to use a loop of aircraft cable with a shackle? And tie it all to a > single > point? > > Thanks in advance, > Steve Schepker > Southeastern Louisiana University > > ------------------------------ Message-ID: <9467.24.168.209.168.1105888491.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Sun, 16 Jan 2005 10:14:51 -0500 (EST) Subject: Re: Caribeners (was quick links) From: usctd [at] columbia.sc Sooo true. When I was at Cirque and had nothing to do one day, I took one of each type of biner we had to our break tester. OK it was just a chain fall hooked up to a load cell in a plexi box.....Anyway, I loaded each one with the gate unlocked. I was amazed at how the biners deformed SEVERELY and nowhere near the rating they had stamped for the unlocked position. I remeber one deformed like it was a piece of taffee(sp?). It was pretty sobering for all of us in the rigging department where we would use dozens of these during the course of a show. I wish I had kept them, don't know what I was thinking there! They really are delicate. Listen to Bill, use shackles! -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > If you install a caribiner just a teensy bit wrong or leave the gate latch > just a tiny bit open or side load the thing just a smidgen, then the > device > will fail. I have photos of failed biners I use in my seminars. Devices > rated for 3000kg that failed at 200kg. Pretty spectacular, as long as you > aren't standing under the load. > > ------------------------------ Message-ID: <41EA8537.4000100 [at] icdc.com> Date: Sun, 16 Jan 2005 10:16:07 -0500 From: JT Organization: Sorely Lacking Subject: Re: Bill McManus References: In-Reply-To: Friends; This was sent recently by PLSN. Many of us owe Bill our gratitude for what he did in the industry. Jim Taylor Acoustic Light ---------------------- Bill McManus, Lighting Industry Pioneer- 1946-2005 Bill McManus, one of the early pioneers of rock and roll lighting and the president of both McManus Enterprises and PeakBeam Systems, passed away on Thursday, January 13, 2005. Born in Pontiac Michigan on December 16, 1946, McManus died unexpectedly as the result of a bacterial infection. He is survived by his wife Jean (who ran PeakBeam with Bill), daughter Anne and son Billy. McManus began his career supplying lights for concerts at Saint Joseph’s University, where he attended college. Later on he became the lighting designer at Philadelphia’s Electric Factory, where he honed his chops lighting a variety of touring acts. In those early days of rock and roll tours, it was the responsibility of the local promoter to supply lights and sound for the bands when they came to town. He found that he had a natural ability in lighting design and he designed lighting packages for Jethro Tull, Elton John, Cat Stevens, The Eagles and The Who. As the industry developed and bands started carrying their own production, some who had worked with McManus would use his design as a template or technical rider for the lighting package. In 1972, lighting designer Chip Monck designed a touring package for the Rolling Stones STP Tour that, at the time, was the most sophisticated of its kind, revolutionary in scale and plan. It was the first to include a painted set, touring follow spots and a rear lighting truss that was raised by hydraulics. The tour showed the industry that it was possible to create and keep a consistent look from city to city. It also gained considerable media attention, putting the Rolling Stones on the cover of Time and Life magazines. It was a pivotal point in the touring industry. One of the fixtures that Monck had on the Stones tour was the Cine-PAR, originally built by Kliegel Brothers for the newsreel industry. Said McManus, “The Cine-PAR was barely a fixture. It had a yoke that held a very shallow round stamping with two ridges and two retainer rings; one for PAR 64 lamps and a smaller inner ring for PAR 56 lamps. The back of the lamp stuck out of the fixture and the exposed lamp prongs were attached to the porcelain socket and wires that ran to the yoke. 10" by 10" gel frames were held in place by gravity and clips were spot-welded on the two sides and bottom.” The fixture was rarely used by anyone in the concert touring industry. It produced an oval-shaped pool of light, unlike the traditional circle shape. Because of its short barrel, it burned through gel very quickly. Monck used it on the Stones tour for backlight with saturated gel for deep, intense color washes. The Cine-PAR backlight created a vivid contrast to the white follow spots lighting from the front. The contrast gave the band depth that was noticed from even the back rows of the arenas. At the time, McManus had been on tour for three years with Jethro Tull. Compared to the Stones show, the lighting package in the Jethro Tull tour was very basic, consisting of ellipsoidals, Fresnels and strip lights. Ian Anderson, lead singer of Jethro Tull, approached McManus and asked him to propose a lighting package that would compete with the Stones tour. McManus explained that it would be difficult to create a 144,000-watt show on Tull’s limited budget and one that could be loaded in, set up and loaded out every night. This was crucial since their schedule included 30 straight nights of shows, five times a year. But Anderson okayed the budget to design and build duplicate theatrical settings and lighting systems. McManus assembled two complete systems and road crews, the “B” and “C” teams, each with two semis that leapfrogged each other. In addition, the “A” team of road crew, directors and band members traveled with another truckload of sound and band gear working every day from noon to midnight. McManus’s innovative design included the first control console expressly built for pop music that allowed him to “play” the lights with the music like a band member. With the new Jethro Tull budget, McManus approached Altman Lighting about making a variation of the Cine-PAR. He took a prototype of the new fixture and met with Ronny Altman. Together they reengineered the fixture, lengthening the barrel to set the gel further away from the lamp. The longer barrel had holes for heat dissipation and baffles to prevent light leaks. They added a spring latch to hold the gel frame in place and put a rounded cap on the back of the fixture. In the cap, they cut a hole so a technician could twist the socket to rotate the beam of the lamp. Within five weeks Altman had built 500 of the fixtures and the redesigned fixture redefined the lighting industry. McManus, who partnered with Chip Monck on several epics in the mid 70’s, continued his innovative Emmy award winning lighting career by moving into location lighting for film and TV sports from the early 80’s until his death. He lit, among others, HBO’s Boxing events for the last 24 years. He also manufactured the Maxa Beam Xenon Searchlight, the “world’s most powerful handheld, battery-powered light.” Besides being designed into several pop/rock tours, sci-fi films and theme parks, the Maxa Beam has been deployed with the troops in Iraq and Afghanistan. Over 18,000 units have been fielded since it was first introduced to the US Navy in 1989. Bill McManus was a giant in the lighting field and he will be missed by many. Read the PLSN interview with Bill from March 2004 at www.plsn.com/mcmanus -------------------- ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: RE: Beam Ceiling Rigging Date: Sun, 16 Jan 2005 10:19:00 -0500 Steve, Are you hanging this from battens, dead-hanging it, or both? If you are only haning it from three points, wouldn't trim chains work better than turnbuckles? If I am visualizing this correctly, I don't even see the need for trim chains - just make the cables of equal length. We really need to "see" this thing to be more specific. If the whould unit weights under 120 lbs (which is what you seem to be saying) and you are hanging it from three points using 1/8" aircraft cable, your design factor is plenty large enough for what you are doing. Hope this helps -Delbert Delbert L. Hall 423-773-HALL (4255) ------------------------------ From: "Jonathan S. Deull" Subject: RE: Bill McManus Date: Sun, 16 Jan 2005 10:44:38 -0500 In-Reply-To: Message-ID: ....At the time, McManus had been on tour for three years with Jethro Tull. Compared to the Stones show, the lighting package in the Jethro Tull tour was very basic, consisting of ellipsoidals, Fresnels and strip lights. Ian Anderson, lead singer of Jethro Tull, approached McManus and asked him to propose a lighting package that would compete with the Stones tour. McManus explained that it would be difficult to create a 144,000-watt show on Tull's limited budget and one that could be loaded in, set up and loaded out every night. This was crucial since their schedule included 30 straight nights of shows, five times a year. But Anderson okayed the budget to design and build duplicate theatrical settings and lighting systems. McManus assembled two complete systems and road crews, the "B" and "C" teams, each with two semis that leapfrogged each other. In addition, the "A" team of road crew, directors and band members traveled with another truckload of sound and band gear working every day from noon to midnight.... As a young and naive fellow I was on several of those early Jethro Tull tours (with the A truck). Not knowing any better, and being at the time more interested in other aspects of rock and roll touring [;)], I thought that Bill's way was just "the way it was done." Little did I know... Jonathan Deull Clark Transfer Edmund Burke School ------------------------------ Message-ID: <20050116130442.va8j1hsnc4480gs0 [at] webmail0.isis.unc.edu> Date: Sun, 16 Jan 2005 13:04:42 -0500 From: zhamm [at] email.unc.edu Subject: Re: Caribeners References: In-Reply-To: My 2 cents is that a caribeaner is too prone to becoming a bottle opener and so I wouldn't want them in my general rigging inventory. I think they're fine in personal inventory for use with my harness. Zach Hamm ------------------------------ Message-Id: <3.0.6.32.20050116113854.00b63070 [at] pop.west.cox.net> Date: Sun, 16 Jan 2005 11:38:54 From: CB Subject: Re: Caribeners (was quick links) > Some of the strongest biners >I've seen are rated for 2 tons. Maybe 2.5 tons. HMMmmm... I've seen bigger shackles than Bill? That seems wrong. A rigging and specialty type hardware store here in Tucson (there in Tucson?) had a coupla good sized shackles in there once, couln't fit more than two on a pallet... Yeah, if (that's only IF) I have to rig anything, I follow the riggers instructions and let him inspect before anything flies. I know a handful of does, and a buncha don'ts, and I'll walk before I violate any of the don'ts. The only time I've ever used a 'biner on the deck was to change out some 'art' hangings. These didn't weigh more than a picture youd find in a motel room, and there were two to a frame. There are plenty of uses for 'biners, though, Bill. On my lanyard, there are a number of things, a lil screwdriver, a flashlight, a "laser", my lammie, etc. The 'biner lets me quicly remove one without removing the entire lanyard. And when I get to the deck, the 'biner in my bag lets me clip my keys into the edge of the bag instead of letting them drop to the bottom, so as to be easy to find when I leave! Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Caribeners (was quick links) Date: Sun, 16 Jan 2005 13:53:27 -0500 Message-ID: <00db01c4fbfc$ade0ae90$6401a8c0 [at] Dell> In-Reply-To: > HMMmmm... I've seen bigger shackles than Bill? Probably. Bill's not very big. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <141.3d63531b.2f1c1af7 [at] aol.com> Date: Sun, 16 Jan 2005 14:31:03 EST Subject: Re: Beam Ceiling Rigging In a message dated 16/01/05 13:34:27 GMT Standard Time, sschepker [at] charter.net writes: > I have to rig a beam ceiling to tour. Of course, the design was never > intended to tour. Find, on 'photobucket' a shot of mine called 'Builder'. I think that you can access it through the archives, if not, I can mail it to you direct. I may have mis-rembered the title, but it refers to Ibsen's "The Master Builder" The beams we used were much lighter, I think, being made from corrugated cardboard, with frames at the lift attachment points of 3/4 material. They were about 14" x 7" in section, and the frames held them in shape. Frank Wood ------------------------------ Subject: Re: June's quick link post Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Sun, 16 Jan 2005 14:47:38 -0500 on January 15 June wrote: "What the list has been referring to as a quick link, I first learned as a "french link", but then, I learned a lot of my terminology from Circus guys that Marty Petlock threw me into contact with in Sarasota back in the day ... I was later told that this is a very old term, referring to the fact that the european acts were the first ones to introduce this little wonder to the US. Which may be complete bull#$% [at] , for all I know." Hi June, That was an excellent post with some good definitions and thoughts about o'head rigging. Sorry about the Circus guys, they haven't changed much except for Arsenault aging rapidly. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a5.2ed08fe3.2f1c1e66 [at] aol.com> Date: Sun, 16 Jan 2005 14:45:42 EST Subject: Re: Caribeners (was quick links) In a message dated 16/01/05 15:05:50 GMT Standard Time, usctd [at] columbia.sc writes: > Sooo true. When I was at Cirque and had nothing to do one day, I took one > of each type of biner we had to our break tester. OK it was just a chain > fall hooked up to a load cell in a plexi box.....Anyway, I loaded each one > with the gate unlocked. I was amazed at how the biners deformed SEVERELY > and nowhere near the rating they had stamped for the unlocked position. I > remeber one deformed like it was a piece of taffee(sp?). It was pretty > sobering for all of us in the rigging department where we would use dozens > of these during the course of a show. I wish I had kept them, don't know > what I was thinking there! > > They really are delicate. Listen to Bill, use shackles! By all means listen to Bill: he knows far more about rigging than any of us. But listen to me, as well. Karabiner seems to have become a loose term, referring to the clips you find on the end of a dog lead as well as the clips serious climbers use. These latter are made from forged steel, either 5/8" or 1/2" diameter. They are personal safety equipment on which climbers bet their own lives, from day to day. I shouldn't bet mine on most shackles in use. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Sun, 16 Jan 2005 15:12:22 EST Subject: Re: June's quick link post In a message dated 1/16/05 2:46:55 PM, Marty_Petlock [at] sarasotagov.com writes: >Sorry about the Circus guys, they haven't changed much >except for Arsenault aging rapidly. > >Marty Petlock >Technical Facilities Manager >Van Wezel P.A.H. >Sarasota, FL. cruel, , cruel, , cruel, , but although I am one of those strange birds with interests in both theatrical and circus production, I can not claim the distinction of truly being a part of the infamous greater Sarasota circus family, although I would hazard a guess that I am the only member of this list that owns a circus tent. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-ID: <63685.66.183.177.34.1105906696.squirrel [at] 66.183.177.34> In-Reply-To: References: Date: Sun, 16 Jan 2005 12:18:16 -0800 (PST) Subject: Re: June's quick link post From: "Tom Heemskerk" > > on January 15 June wrote: > > "What the list has been referring to as a quick link, I > first learned as a "french link", but then, I learned > a lot of my terminology from Circus guys that Marty > Petlock threw me into contact with in Sarasota back in > the day ... I was later told that this is a very old > term, referring to the fact that the european acts > were the first ones to introduce this little wonder to > the US. Which may be complete bull#$% [at] , for all I > know." > Although I've never heard the term "French Link" before, it makes perfect sense - a brand name which is sometmes seen, and often thought of as the "original", is "Maillon Rapide". These have a rating stamp, for what it's worth. For the translation-impaired, it means "quick link". Please, don't even think about calling them "freedom links" :-) TH ------------------------------ Message-ID: Date: Sun, 16 Jan 2005 12:18:22 -0800 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: Archives In-Reply-To: References: I too have had problems with the archives for a long time. They seem to be intermittent at best. On Sun, 16 Jan 2005 04:33:39 -1000, Paul Guncheon wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > It appears the stagecraft archives cannot be accessed or searched. What's > up with that... or is it just me and my pathetic computer? > > Paul Guncheon > > (currently Art Director for Discovery Network's "29 Down", a new children's > show... think "Lost" done with kids but with no violence). > > "All you other committee members are gonna have to stand on your own two > feet" said Tom, taking the chair. > > -- Mat Goebel Cell: 510.693.1448 ------------------------------ Message-ID: <11026.24.168.209.168.1105909978.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Sun, 16 Jan 2005 16:12:58 -0500 (EST) Subject: Re: Caribeners (was quick links) From: usctd [at] columbia.sc My understanding is that most climbers use aluminum biners to cut down on weight. Is this a difference between rock climbers and ice/mountain climbing? -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Karabiner seems to have become a loose term, referring to the clips you > find > on the end of a dog lead as well as the clips serious climbers use. These > latter are made from forged steel, either 5/8" or 1/2" diameter. They are > personal > safety equipment on which climbers bet their own lives, from day to day. I > shouldn't bet mine on most shackles in use. > > > Frank Wood > ------------------------------ Message-ID: <01dc01c4fc27$364f7e80$690a0a0a [at] schulershook.net> Reply-To: "Bill Conner" From: "Bill Conner" Cc: Jonathan [at] WillsLighting.com Subject: Re: OSHA/NFPA Redulations for Theatre Date: Sun, 16 Jan 2005 17:58:00 -0600 This is not an easy question. Bill Sapsis correctly references NFPA 701 but unfortunately rather than the 1977 edition you will probably be better off using the 2004 edition. NFPA codes are usually revised and re-issued every 3 to 5 years. The unfortunate part is because the current edition no longer includes the small-scale or match test as it was sometimes called. This passage is from the annex of a draft of the current (2004) edition: A.1.1 A small-scale test method appeared in NFPA 701 until the 1989 edition. It was eliminated from the test method because it has been shown that materials that "pass" the test do not necessarily exhibit a fire performance that is acceptable. The test was not reproducible for many types of fabrics and could not predict actual full-scale performance. It should not, therefore, be used. Based on the draft of the 2004 edition (which may be available free on the NFPA web site for a limited time) there are 2 test methods, coincidently called test method 1 and test method 2. The difference is weight of the fabric - the dividing point being 21 ounces per square yard (remember common stage velour is in ounces per running yard which is approx 1 1/2 sq yards). Test method 2 for heavier than 21 ounce per sq yd fabric requires a cabinet about the size of a Colortran ENR rack and a calibrated gas burner. It also usually requires a testing lab, as does test method 1, to achieve reliable results and results that will hold up in anything legal but you might be able to pull this off - out of doors please - not in the building. So, if their over 5 years old or so have them cleaned and reflameproofed and sacrifice some material for testing. If they meet those conditions and look old, faded, or have many tears and stains, explain to the p.t.b that you've been told by experts that they have outlived their expected life (10 years in my book) and if there were a fire, the institution would be all the more liable for having ignored your warnings. If that isn't sufficient, send Dr. Doom a check and he'll make your case and the cost per word will be much less than if I were to do it. Regards, Bill (note absence of multi-line signature) ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 17 Jan 2005 00:08:56 GMT Subject: Re: OSHA/NFPA Redulations for Theatre Message-Id: <20050116.160947.28237.180029 [at] webmail06.lax.untd.com> Not necessarily, but he is a GREAT Expert Witness. [As a lawyer and temporary judge, I know a great expert witness when I see one.] /s/ Richard ___________ If that isn't sufficient, send Dr. Doom a check and he'll make your case and the cost per word will be much less than if I were to do it. Regards, Bill ------------------------------ Reply-To: From: "Jonathan Wills" Cc: bill-conner [at] att.net ('Bill Conner') Subject: RE: OSHA/NFPA Redulations for Theatre Date: Sun, 16 Jan 2005 20:10:36 -0500 Organization: Wills Lighting & Stage In-Reply-To: <01dc01c4fc27$364f7e80$690a0a0a [at] schulershook.net> Message-ID: <0MKz1m-1CqLPc2qAk-0002dF [at] mrelay.perfora.net> Bill, The funny thing about my situation is I got in a disagreement about NFPA applying to educational institutions. He believes the local fire marshall will not see NFPA or IBC applying to educational institutions. I am in a quest to find out which the local uses. My department has finally convinced the VP of Operations that our 14 year old 16oz velour that has been mended at least once a year needs replacing. He does not think the Grand Rag should be touched as it looks ok. All the curtains were installed at the same time. Advice to persuade ignorant people would be appreciated. Thank you, Jonathan Wills Wills Lighting and Stage www.WillsLighting.com Toll Free 866.909.4557 Local 423.559.0606 Fax 423.559.0071 -----Original Message----- From: Bill Conner [mailto:bill-conner [at] att.net] Sent: Sunday, January 16, 2005 6:58 PM To: Stagecraft Cc: Jonathan [at] WillsLighting.com Subject: Re: OSHA/NFPA Redulations for Theatre This is not an easy question. Bill Sapsis correctly references NFPA 701 but unfortunately rather than the 1977 edition you will probably be better off using the 2004 edition. NFPA codes are usually revised and re-issued every 3 to 5 years. The unfortunate part is because the current edition no longer includes the small-scale or match test as it was sometimes called. This passage is from the annex of a draft of the current (2004) edition: A.1.1 A small-scale test method appeared in NFPA 701 until the 1989 edition. It was eliminated from the test method because it has been shown that materials that "pass" the test do not necessarily exhibit a fire performance that is acceptable. The test was not reproducible for many types of fabrics and could not predict actual full-scale performance. It should not, therefore, be used. Based on the draft of the 2004 edition (which may be available free on the NFPA web site for a limited time) there are 2 test methods, coincidently called test method 1 and test method 2. The difference is weight of the fabric - the dividing point being 21 ounces per square yard (remember common stage velour is in ounces per running yard which is approx 1 1/2 sq yards). Test method 2 for heavier than 21 ounce per sq yd fabric requires a cabinet about the size of a Colortran ENR rack and a calibrated gas burner. It also usually requires a testing lab, as does test method 1, to achieve reliable results and results that will hold up in anything legal but you might be able to pull this off - out of doors please - not in the building. So, if their over 5 years old or so have them cleaned and reflameproofed and sacrifice some material for testing. If they meet those conditions and look old, faded, or have many tears and stains, explain to the p.t.b that you've been told by experts that they have outlived their expected life (10 years in my book) and if there were a fire, the institution would be all the more liable for having ignored your warnings. If that isn't sufficient, send Dr. Doom a check and he'll make your case and the cost per word will be much less than if I were to do it. Regards, Bill (note absence of multi-line signature) -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.12 - Release Date: 1/14/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.12 - Release Date: 1/14/2005 ------------------------------ Message-Id: <6.1.2.0.0.20050116202246.01b64820 [at] mail.insightbb.com> Date: Sun, 16 Jan 2005 20:25:45 -0500 From: Mike Brubaker Subject: Re: OSHA/NFPA Redulations for Theatre Cc: bill-conner [at] att.net ('Bill Conner') In-Reply-To: References: <01dc01c4fc27$364f7e80$690a0a0a [at] schulershook.net> Depending on your state, this can be true. For example, for a long time, K-12 schools in Michigan were governed by the Michigan Educational Building Code (or something like that) which was a slightly modified version of NFPA 101. The rest of the state was under the Michigan Building Code which was a modified Universal Building Code (UBC). What state? And are you in a higher ed or K-12 institution? Mike At 08:10 PM 1/16/2005, Jonathan Wills wrote: >The funny thing about my situation is I got in a disagreement about NFPA >applying to educational institutions. He believes the local fire marshall >will not see NFPA or IBC applying to educational institutions. I am in a ------------------------------ Message-ID: <001201c4fc35$8765d2c0$690a0a0a [at] schulershook.net> Reply-To: "Bill Conner" From: "Bill Conner" Cc: Jonathan [at] WillsLighting.com References: <0MKz1m-1CqLPc2qAk-0002dF [at] mrelay.perfora.net> Subject: Re: OSHA/NFPA Redulations for Theatre Date: Sun, 16 Jan 2005 19:40:29 -0600 Jonathan writes: "....the local fire marshal will not see NFPA or IBC applying to educational institutions." This is not simple to explain in a few minutes but it is entirely possible that neither the International Building Code nor any building or fire code applies. In Illinois for instance, all public schools are exempt from local building codes (though many architects still design to them as a courtesy to the local community and for safety since the fire department knows better what to expect) but the State Fire Marshall enforces the NFPA Life Safety Code. All that as it is, NFPA 701 is not a code but a standard. It comes into play when a code which references 701 is the law. For instance, the Life Safety Code references 701. If the city or state adopts the Life Safety Code it by reference adopts 701. (Many legislators have no idea what they voted in - let alone have read it.) So call and ask the fire department if there is a standard that applies to the curtains on a stage. There probably is if you can follow the maze and it may be 701 - by another name or in another form. And if in fact there are no laws that actually regulate your curtains, than prudence and common sense says that the institution should step up and develop a policy and plan for safety. They are not without liability just because there isn't a law which requires them to provide a safe theatre - just`the jury awards will be slightly less. Bill ------------------------------ Message-ID: <017401c4fc3b$bf3f1930$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: Stage Manager Interviews Date: Sun, 16 Jan 2005 21:08:30 -0500 Excellent June, Don't forget cellphone costs, if you expect the SM to be the communications and coordination focal point. Alf ----- Original Message ----- From: "June Abernathy" To: "Stagecraft" Sent: Sunday, January 16, 2005 12:44 AM Subject: Stage Manager Interviews > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >>In a month I will be holding interviews for two >>summer non-Equity stage managers. Each of these SMs >>will manage two shows. Last summer I hired >>two and we had some problems, likely due to my novice >>SM-hiring skills and expectations. > >>This list has helped a lot but does anyone want to >>give me 10 questions I should be asking in an >>interview? >>I have already thought of the rope/knot thread and >>the # of knots one might need. ;-)) > >>Richard Wright >>Newman & Wright Theatre Company >>Williams Lake and Barkerville, B.C. > > > First, why are your Stage Managers tying knots? The > thing with Non-equity Stage Managers is that no one > really knows what their job description is. A lot of > people think they do, but it actually varies from > theater to theater. You may be expecting them to tie > knots and pull curtains and paint things, for > instance, and they may be expecting to take blocking > and call cues. So when they come to work with you, > both sides are annoyed and frustrated. Outside of a > union situation, where job descriptions are codified, > you have to be specific. You may be really clear in > your own head about what you expect from your stage > managers, but there is really no guarantee that they > have the same idea in THEIR heads. You should also be > really clear, in your advertisements and in your > interviews, what kind of skills you are looking for > and what duties you are expecting. You may think it's > obvious, but more often than you know, it isn't. > > Are they doing every other show, so that, in theory, > no one is in both rehearsals and performances at the > same time? Are they expected to assist the other SM at > all? Do they have any assistants (interns, whatever?). > Are they taping out rehearsal spaces? Pulling > rehearsal props? Scheduling? Taking blocking, > prompting, all that? Are they expected to turn in > rehearsal reports? Performance reports? Do they > schedule production meetings? Host them? Arrange > transportation or drive people around? Any technical > duties? On deck for the show? Calling cues for the > show? Running a light board? Selling soda and candy? > Participating in scene shifts? Are they expected at > load in and/or strike? Of their shows? Of all shows? > Are they expected to undertake any duties for the > company outside of rehearsals and performances for > their specific shows? > > What pay are you offering? Are you paying a fee, a > weekly salary, a per show rate, or what? Are you > paying them for any prep time before their first show? > How soon before their first show are you expecting > them to arrive, and when do they start getting paid? > Do they walk away after the last performance of their > last show, or are they expected to help strike, or > close up the SM office, or anything else? Do you want > their prompt books, or can they keep them? Will your > company provide transportation, or reimbursement for > travel? Will you provide housing? Shared or solo? Do > you provide a computer, or are you expecting them to > bring their own? Are you providing an office? Office > supplies? > > The questions you ask depend so hugely on what you > want them to do. And on what your problems have been > in the past. I think if you can hand them a list of > your expectations about their job duties at the > interview stage, it will provide excellent talking > points for discussion at interviews as well as > preventing misunderstandings after hiring. And, even > in a non-union situation, I think it would be good for > you to write up some kind of formal agreement > outlining your terms and their duties, at least in > broad strokes, so you both have something to sign that > will lay out what is expected and what is required. > The less suprises on either side, the better. > > Hope this helps - > > ===== > June Abernathy > IATSE #321 (Tampa, FL) > FOH Electrician > The Lion King National Tour (Gazelle) > > > > __________________________________ > Do you Yahoo!? > All your favorites on one personal page - Try My Yahoo! > http://my.yahoo.com ------------------------------ End of Stagecraft Digest #262 *****************************