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Subject: Stagecraft Digest #290
Date: Wed, 09 Feb 2005 03:00:36 -0800
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #290

 1. Re: Source for architectural columns
    by "Christopher K. Nimm" <nimmck [at] charter.net>
 2. Re: Source for architectural columns
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
 3. Re: Lockable rope locks
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 4. Re: Source for architectural columns
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 5. Rope Lock/Brake
    by "Eccleston, Mark" <MEccleston [at] DRS-TEM.com>
 6. Re: Rope Lock/Brake
    by "Delbert Hall" <flyingfx [at] hotmail.com>
 7. Re: Rope Lock/Brake
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 8. Re: Source for architectural columns
    by Greg Bierly <gbierly [at] dejazzd.com>
 9. Re: Rope Lock/Brake
    by Greg Bierly <gbierly [at] dejazzd.com>
10. NEW GROUP - Stagecraft Remote Control Lights & Motion
    by "James Smith, www.theatrewireless.com" <jsmith [at] theatrewireless.com>
11. Re: Rope Lock/Brake
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
12. Re: Lockable rope locks
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
13. Re: Rope Lock/Brake
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
14. Re: Rope Lock/Brake
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
15. Re: Portable Audience Seating
    by Stephen Litterst <slitterst [at] ithaca.edu>
16. Re: Rope Lock/Brake
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
17. Re: You know it's going to be a bad show day when....
    by Greg Persinger <gregpersin [at] comcast.net>
18. Re: Source for architectural columns
    by mo <houseomo [at] ix.netcom.com>
19. Re: Portable Audience Seating
    by "Scott Boyle" <smboyle [at] cc.edu>
20. Re: Welding Shop Equipment
    by Stuart Wheaton <sdwheaton [at] fuse.net>
21. Re: Super Bowl Intermission
    by Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
22. Re: You know it's going to be a bad show day when.
    by "Karl G. Ruling" <kruling [at] esta.org>
23. Re: You know it's going to be a bad show day when....
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
24. Clear-com interfacing?
    by "C. Dopher" <brooklyn [at] dopher.com>
25. Re: Source for architectural columns
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
26. Re: Super Bowl Intermission
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
27. Re: You know it's going to be a bad show day when....
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
28. Re: You know it's going to be a bad show day when....
    by "Joshua Webb" <jwebb [at] worcesteracademy.org>
29. Re: lime light
    by "Karl G. Ruling" <kruling [at] esta.org>
30. Re: Super Bowl Intermission
    by "Joshua Webb" <jwebb [at] worcesteracademy.org>
31. Re: You know it's going to be a bad show day when.
    by "Storms, Randy" <rstorms [at] bham.wednet.edu>
32. Re: Super Bowl Intermission
    by Brad Spachman <bspachman [at] att.net>
33. Re: Super Bowl Intermission
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
34. Re: Super Bowl Intermission
    by Stuart Wheaton <sdwheaton [at] fuse.net>
35. Re: Super Bowl Intermission
    by "Bob Robins" <hipplights [at] gator.net>
36. Re: Clear-com interfacing?
    by Dale Farmer <dale [at] cybercom.net>
37. Re: Source for architectural columns
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
38. Re: Super Bowl Intermission
    by Samuel Jones <sjones [at] ucla.edu>
39. Re: You know it's going to be a bad show day when.
    by usctd [at] columbia.sc
40. Re: Super Bowl Intermission
    by "Delbert Hall" <flyingfx [at] hotmail.com>
41. Re: lime light
    by IAEG [at] aol.com
42. Re: You know it's going to be a bad show day when....
    by "Jason" <OneOccy [at] hotmail.com>
43. carbon filament lamps
    by Fred Fisher <fwfisher [at] wisc.edu>
44. Scrollwork material ideas
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
45. Suit of Armor
    by Karen Archibald <KArchibald [at] hawaii.rr.com>
46. Re: Scrollwork material ideas
    by Dale Farmer <dale [at] cybercom.net>
47. Re: carbon filament lamps
    by James Feinberg <feinberg [at] sandiego.edu>
48. Re: Super Bowl Intermission
    by MissWisc [at] aol.com
49. Re: Scrollwork material ideas
    by "Jon Ares" <jonares [at] hevanet.com>
50. Re: Super Bowl Intermission
    by MissWisc [at] aol.com
51. Re: Scrollwork material ideas
    by doran [at] bard.edu
52. Re: carbon filament lamps
    by Fred Fisher <fwfisher [at] wisc.edu>
53. Re: Super Bowl Intermission
    by Steve Larson <tiptd [at] theatreinthepark.com>
54. Re: Scrollwork material ideas
    by Steve Larson <tiptd [at] theatreinthepark.com>
55. Bad Day at the Theater
    by "Ann Warren" <thwarren [at] isugw.indstate.edu>
56. Re: Suit of Armor
    by roguerpj [at] mn.rr.com
57. Re: Suit of Armor
    by "Jack Morones" <jmorones [at] saddleback.edu>
58. Re: carbon filament lamps
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
59. Re: carbon filament lamps
    by FrankWood95 [at] aol.com
60. Re: You know it's going to be a bad show day when....
    by CB <psyd [at] cox.net>
61. You know it's going to be a bad show day....
    by "David R. Krajec" <drkrajec [at] stritch.edu>
62. Re: You know it's going to be a bad show day when....
    by CB <psyd [at] cox.net>
63. Re: Super Bowl Intermission
    by CB <psyd [at] cox.net>
64. Re: You know it's going to be a bad show day when....
    by CB <psyd [at] cox.net>
65. Showbiz Enterprise
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
66. Reinforcing a teacup
    by "Kevin A. Patrick" <patrick_kevin [at] colstate.edu>
67. Re: Reinforcing a teacup
    by David Marks <davidmarks [at] att.net>
68. Re: Reinforcing a teacup
    by Dale Farmer <dale [at] cybercom.net>
69. Re: You know its gonna be a bad day when your truck...
    by "Thad Kramer" <thad [at] nls.net>
70. Re: You know its gonna be a bad day when your truck...
    by Dale Farmer <dale [at] cybercom.net>
71. Re: Super Bowl Intermission
    by "Andy Leviss" <Andy [at] DucksEchoSound.com>
72. Re: Super Bowl Intermission
    by IAEG [at] aol.com
73. Re: Reinforcing a teacup
    by Pat Kight <kightp [at] peak.org>

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

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

Message-ID: <005a01c50dd5$313d8e40$6601a8c0 [at] tamiasuis>
From: "Christopher K. Nimm" <nimmck [at] charter.net>
References: <list-17717400 [at] prxy.net>
Subject: Re: Source for architectural columns
Date: Tue, 8 Feb 2005 05:56:12 -0600

You could also try Dixie-Pacific.  There's a catalog at 
www.dixiepacific.com.  The distribution center that I work at carries 
columns in wood and fiberglass.  I've never actually seen one outside of the 
box, however.

Chris Nimm


----- Original Message ----- 
From: "Ruth Neeman" <ruth [at] setbyruthneeman.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, February 07, 2005 9:24 PM
Subject: Source for architectural columns


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I am looking for a source for light weight, (plastic, styrofoam, vacuum
> mold) architectural column parts ­ Doric or Tuscan. I would appreciate
> pointers to websites of companies that offer these items for sale or 
> rental.
> Thanks
>
>
> Ruth Neeman
> www.setbyruthneeman.com
>
>
> 


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

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Subject: RE: Source for architectural columns
Date: Tue, 8 Feb 2005 08:04:47 -0500
In-Reply-To: <list-17718986 [at] prxy.net>
Message-ID: <auto-000017790520 [at] prxy.net>


I am looking for a source for light weight, (plastic, styrofoam, vacuum
mold) architectural column parts - Doric or Tuscan. I would appreciate
pointers to websites of companies that offer these items for sale or rental.
Thanks

Home Depot has been suggested before.


Jonathan Deull



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

Message-ID: <4208BE5E.9030807 [at] fredonia.edu>
Date: Tue, 08 Feb 2005 08:27:58 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Lockable rope locks
References: <list-17717193 [at] prxy.net>

Contact me off-list for my commentary about these Tiffin devices.
Steve Rees, TD
SUNY-Fredonia

Delbert Hall wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Tiffin Scenic makes them.  
> http://www.tiffinscenic.com/html/rope_locks.html  Some people like them, 
> others do not.
> 
> -Delbert
> 
> Delbert L. Hall
> 423-773-HALL (4255)
> 



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

Message-ID: <4208BEF4.6000908 [at] fredonia.edu>
Date: Tue, 08 Feb 2005 08:30:28 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Source for architectural columns
References: <list-17717400 [at] prxy.net>

Ruth,

try:   www.outwaterplastics.com

Steve Rees,TD
SUNY-Fredonia

Ruth Neeman wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I am looking for a source for light weight, (plastic, styrofoam, vacuum
> mold) architectural column parts ­ Doric or Tuscan. I would appreciate
> pointers to websites of companies that offer these items for sale or rental.
> Thanks
> 
> 
> Ruth Neeman
> www.setbyruthneeman.com
> 
> 



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

Message-ID: <029D880648EA1D49BC9016D1FCAB2880013E8C43 [at] cosmo.pei.com>
From: "Eccleston, Mark" <MEccleston [at] DRS-TEM.com>
Subject: Rope Lock/Brake
Date: Tue, 8 Feb 2005 07:32:02 -0600 

At our theatre we have a "home-made" device made from 1/2" cold-rolled steel
that intertwines with the lines of the counterweight system to secure it
while it is out of balance.  I'm wondering what is the correct term for this
device?  Do others use them?  Recommend them?  What do you use while
loading/unloading weights from your system?

Mark S. Eccleston 
Huntsville, Alabama
256-694-8575

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

Message-ID: <BAY15-F80BEAB2FCEF495D7D19F9C2740 [at] phx.gbl>
In-Reply-To: <list-17793810 [at] prxy.net>
From: "Delbert Hall" <flyingfx [at] hotmail.com>
Subject: RE: Rope Lock/Brake
Date: Tue, 08 Feb 2005 08:39:19 -0500

Mark,

The devices you describe are NOT recommended since they can cause great 
damage to the guides on your arbors and idler blocks.  Snug lines are the 
recommend way of dealing with out-of-weight linesets.

-Delbert

Delbert L. Hall
423-773-HALL (4255)



>From: "Eccleston, Mark" <MEccleston [at] DRS-TEM.com>
>Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
>To: "Stagecraft" <stagecraft [at] theatrical.net>
>Subject: Rope Lock/Brake
>Date: Tue, 8 Feb 2005 07:32:02 -0600
>
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>At our theatre we have a "home-made" device made from 1/2" cold-rolled 
>steel
>that intertwines with the lines of the counterweight system to secure it
>while it is out of balance.  I'm wondering what is the correct term for 
>this
>device?  Do others use them?  Recommend them?  What do you use while
>loading/unloading weights from your system?
>
>Mark S. Eccleston
>Huntsville, Alabama
>256-694-8575



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

Message-ID: <4208C327.8030809 [at] fredonia.edu>
Date: Tue, 08 Feb 2005 08:48:23 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Rope Lock/Brake
References: <list-17793810 [at] prxy.net>

Mark,
They are called Line-Loks or "Uncle Buddies" and many on this list 
disapprove of them for what they do to the shoes on the take-up block 
and the forces applied to the operating lines.  You will find a 
discussion of same in Jay Glerum's book, Stage Rigging Handbook, 2nd 
ed., p.151-153.
For loading or unloading weight, either the presence of a load on the 
pipe and proper reweighting procedure from the weight gallery.
HTH.
Steve Rees, TD
SUNY-Fredonia

Eccleston, Mark wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> At our theatre we have a "home-made" device made from 1/2" cold-rolled steel
> that intertwines with the lines of the counterweight system to secure it
> while it is out of balance.  I'm wondering what is the correct term for this
> device?  Do others use them?  Recommend them?  What do you use while
> loading/unloading weights from your system?
> 
> Mark S. Eccleston 
> Huntsville, Alabama
> 256-694-8575



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

In-Reply-To: <list-17790523 [at] prxy.net>
References: <list-17790523 [at] prxy.net>
Message-Id: <1d765f8009e8db0488f94fd6008dc535 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Source for architectural columns
Date: Tue, 8 Feb 2005 08:52:19 -0500

I have not ordered from them but have been getting both email and snail 
mail catalogs from:
http://www.tulnoylumber.com/
They carry a full line of vacuum-formed plastics.


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

In-Reply-To: <list-17793810 [at] prxy.net>
References: <list-17793810 [at] prxy.net>
Message-Id: <9d67b2eb4a867fce7c3bb997984be677 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Rope Lock/Brake
Date: Tue, 8 Feb 2005 08:59:09 -0500

> I'm wondering what is the correct term for this
> device?  Do others use them?  Recommend them?  What do you use while
> loading/unloading weights from your system?

I have heard them called "Linelocks", "Ropelocks", "Uncle Buddy"  If 
the archives are accessible you will find a host of opinions on these.  
I don't have any since the guys at Sapsis taught me the stopper hitch.  
(check out hstech.com for great pics).   As others will tell you always 
be extra cautious when loading and unloading since it is very easy to 
get out of weight fast with something locking the operating line.  It 
is often necessary but still need to be extra aware of what you are 
loading/unloading.

Greg Bierly
Technical Director
Hempfield HS


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

From: "James Smith, www.theatrewireless.com" <jsmith [at] theatrewireless.com>
Cc: Show-Control [at] yahoogroups.com
Subject: NEW GROUP - Stagecraft Remote Control Lights & Motion
Date: Tue, 8 Feb 2005 09:24:53 -0500
In-Reply-To: <000001c50ba8$86aad100$9d749f04 [at] lapxp>
Message-Id: <20050208142455.MXWG19622.tomts10-srv.bellnexxia.net [at] p3m866>

There's a lot of interest in wireless dimming lately, and a growing interest
in secure wireless motor control.  To help all those using wireless dimmers
or interested in them, I've set up a new User Group, courtesy of Yahoo!  

It's the Stagecraft Remote Control Lights & Motion User Group.  Please join!
The more readers and contributors we have, the better.  Sign up at:
http://groups.yahoo.com/group/theatrewireless/join

Reliability and robust construction are key to the success of any system in
the show environment, but there are a few other issues that are important
too, all of which will be regular subjects in this group:
 
- battery selection (most appropriate types, understanding capacity ratings,
effects of temperature)

- battery maintenance (pros and cons of different charging techniques)

- how to wire batteries in series and parallel

- issues that arise when wiring high current / high amperage dc circuits

- safety issues (wire gauge, proper connectors, fusing)
 
Few large shows get away with no wireless dimmers at all, and more and more
smaller houses are using them.  The Shaw Festival has 32 channels of
wireless dimming and 10 remote dimmer packs that can power up to 40 lamps
from battery power.

Once you sign up, you can post messages to the group at:
mailto:theatrewireless [at] yahoogroups.com.  

It would be a pleasure to see you in the group!

Sincerely,
James David Smith (Jim), Moderator
Stagecraft Remote Control Lights & Motion User Group
http://www.jamesdavidsmith.com

** ** **

See the Soundsculpture RC4 Wireless Dimmer System in action at the upcoming
USITT Stage Expo in Toronto.  Multiple systems will be on display, and new
firmware will be debuted, including the new Visual Voltage TM battery
indicator on every receiver, and several new DMX features on the
transmitters.  More info at http://www.theatrewireless.com.


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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Rope Lock/Brake
Date: Tue, 8 Feb 2005 06:38:41 -0800
Message-ID: <003f01c50deb$e3325750$8d90fea9 [at] DrDoomsComputer>
In-Reply-To: <list-17794640 [at] prxy.net>

So true, from my point of view, from having inspected hundred and
hundreds of them. Shy away from them. Doom

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment
Industry Performing Arts Personnel (Riggers, and Public Assembly and
Educational Technicians) www.riskit.com/workshops    International
Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert
Hall
Sent: Tuesday, February 08, 2005 5:39 AM
To: Stagecraft
Subject: Re: Rope Lock/Brake

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

Mark,

The devices you describe are NOT recommended since they can cause great 
damage to the guides on your arbors and idler blocks.  Snug lines are
the 
recommend way of dealing with out-of-weight linesets.

-Delbert

Delbert L. Hall
423-773-HALL (4255)



>From: "Eccleston, Mark" <MEccleston [at] DRS-TEM.com>
>Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
>To: "Stagecraft" <stagecraft [at] theatrical.net>
>Subject: Rope Lock/Brake
>Date: Tue, 8 Feb 2005 07:32:02 -0600
>
>For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>At our theatre we have a "home-made" device made from 1/2" cold-rolled 
>steel
>that intertwines with the lines of the counterweight system to secure
it
>while it is out of balance.  I'm wondering what is the correct term for

>this
>device?  Do others use them?  Recommend them?  What do you use while
>loading/unloading weights from your system?
>
>Mark S. Eccleston
>Huntsville, Alabama
>256-694-8575



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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Lockable rope locks
Date: Tue, 8 Feb 2005 06:39:40 -0800
Message-ID: <004001c50dec$0668edb0$8d90fea9 [at] DrDoomsComputer>
In-Reply-To: <list-17717193 [at] prxy.net>

I recall their first ones at the Bob Hope Theater in Texas. Very
interesting concept which was taken up by other manufacturers over the
last forty years. doom

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment
Industry Performing Arts Personnel (Riggers, and Public Assembly and
Educational Technicians) www.riskit.com/workshops    International
Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert
Hall
Sent: Monday, February 07, 2005 7:23 PM
To: Stagecraft
Subject: Re: Lockable rope locks

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

Tiffin Scenic makes them.
http://www.tiffinscenic.com/html/rope_locks.html  
Some people like them, others do not.

-Delbert

Delbert L. Hall
423-773-HALL (4255)



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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Rope Lock/Brake
Date: Tue, 8 Feb 2005 06:41:32 -0800
Message-ID: <004301c50dec$4949bf60$8d90fea9 [at] DrDoomsComputer>
In-Reply-To: <list-17793810 [at] prxy.net>

My concern, though I have not seen them, would be to have them examined
by an engineer and evaluated. If they are not a manufacturers, and you
have a rigging system that is installed by a company, and something goes
awry because of the home made materials, the liability could be
astronomical. Doom Your product mixing with a commercial product. 

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment
Industry Performing Arts Personnel (Riggers, and Public Assembly and
Educational Technicians) www.riskit.com/workshops    International
Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
Eccleston, Mark
Sent: Tuesday, February 08, 2005 5:32 AM
To: Stagecraft
Subject: Rope Lock/Brake

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

At our theatre we have a "home-made" device made from 1/2" cold-rolled
steel
that intertwines with the lines of the counterweight system to secure it
while it is out of balance.  I'm wondering what is the correct term for
this
device?  Do others use them?  Recommend them?  What do you use while
loading/unloading weights from your system?

Mark S. Eccleston 
Huntsville, Alabama
256-694-8575


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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Rope Lock/Brake
Date: Tue, 8 Feb 2005 06:42:38 -0800
Message-ID: <004401c50dec$70ecd7a0$8d90fea9 [at] DrDoomsComputer>
In-Reply-To: <list-17797183 [at] prxy.net>

Uncle Buddy or whatever name, and I have seen them all over, and used a
great deal in England ... you just take your chances, it seems. doom

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment
Industry Performing Arts Personnel (Riggers, and Public Assembly and
Educational Technicians) www.riskit.com/workshops    International
Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg
Bierly
Sent: Tuesday, February 08, 2005 5:59 AM
To: Stagecraft
Subject: Re: Rope Lock/Brake

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

> I'm wondering what is the correct term for this
> device?  Do others use them?  Recommend them?  What do you use while
> loading/unloading weights from your system?

I have heard them called "Linelocks", "Ropelocks", "Uncle Buddy"  If 
the archives are accessible you will find a host of opinions on these.  
I don't have any since the guys at Sapsis taught me the stopper hitch.  
(check out hstech.com for great pics).   As others will tell you always 
be extra cautious when loading and unloading since it is very easy to 
get out of weight fast with something locking the operating line.  It 
is often necessary but still need to be extra aware of what you are 
loading/unloading.

Greg Bierly
Technical Director
Hempfield HS


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

Date: Tue, 08 Feb 2005 10:02:41 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Portable Audience Seating
Message-id: <4208D491.4FBC821 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-17704800 [at] prxy.net>


-- Robbie Hayes wrote:
> ---------------------------------------------------
 Narrowed it down to the Wenger Portable Audience Chair and the
> Clarin 4400. 

We got to the same point when we bought our chairs and went with the
Clarin, for storage reasons. A few years later we realize the solid
back of the Wenger would have been nice (keeps people from kicking the
folks in front of them) but overall I think we made the right choice.

Steve Litterst

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

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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA58E5AF [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Rope Lock/Brake
Date: Tue, 8 Feb 2005 10:45:24 -0500 

I think that we ended up talking about two different things.  If I am not
mistaken (and I could be) the original post asked about a device the locks
the rope locks so that a line can not be run by unauthorized personnel.  In
this example you would need a key to unlock the actual rope lock.  We seemed
to have drifted off into devices that are used to, TEMPORARILY, secure
unbalanced loads.  There, I feel better now!  Oh, and one more thing!  THEY
ARE NOT BRAKES!!

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Dr. Randall W.A. Davidson [mailto:doomster [at] worldnet.att.net] 
Sent: Tuesday, February 08, 2005 9:42 AM
To: Stagecraft
Subject: Re: Rope Lock/Brake

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

My concern, though I have not seen them, would be to have them examined
by an engineer and evaluated. If they are not a manufacturers, and you
have a rigging system that is installed by a company, and something goes
awry because of the home made materials, the liability could be
astronomical. Doom Your product mixing with a commercial product. 

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment
Industry Performing Arts Personnel (Riggers, and Public Assembly and
Educational Technicians) www.riskit.com/workshops    International
Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
Eccleston, Mark
Sent: Tuesday, February 08, 2005 5:32 AM
To: Stagecraft
Subject: Rope Lock/Brake

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

At our theatre we have a "home-made" device made from 1/2" cold-rolled
steel
that intertwines with the lines of the counterweight system to secure it
while it is out of balance.  I'm wondering what is the correct term for
this
device?  Do others use them?  Recommend them?  What do you use while
loading/unloading weights from your system?

Mark S. Eccleston 
Huntsville, Alabama
256-694-8575

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

Date: Tue, 08 Feb 2005 10:08:32 -0600
Subject: Re: You know it's going to be a bad show day when....
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE2E4020.9A54%gregpersin [at] comcast.net>
In-Reply-To: <list-17684129 [at] prxy.net>

Tony Wrote:

> You certainly worked a lot with Starship in the 80's (judging by the umpteen
> posts on the topic!!)
> 8-))

Tony I think the "Aroma" in the air fried some brain cells that are
affecting his short term memory. :-)


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com


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

Message-ID: <4208E65E.1020708 [at] ix.netcom.com>
Date: Tue, 08 Feb 2005 08:18:38 -0800
From: mo <houseomo [at] ix.netcom.com>
Subject: RE: Source for architectural columns


Warner Bros. Staff Shop, under construction services
http://wbsf.warnerbros.com/home.html

Disney Studio Staff Shop
http://studioservices.go.com/production/contacts.html

Though they're Hollywood studios, they're surprisingly affordable.  Get 
a copy of their catalogs.
I've also had custom flex moulding made by Disney for much less than 
local moulding shops.

Michael Millar


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

Reply-To: <smboyle [at] cc.edu>
From: "Scott Boyle" <smboyle [at] cc.edu>
Subject: RE: Portable Audience Seating
Date: Tue, 8 Feb 2005 10:19:30 -0600
Organization: Carroll College
Message-ID: <000001c50df9$f8653fd0$73db688c [at] cc.edu>
In-Reply-To: <list-17704800 [at] prxy.net>


Hi Robbie,

We came down to the same two choices as well and we went with the Wenger
chair.  The determining factor was me sitting in the sample chairs
during the tech rehearsals for a show.  I figured with my bad back,
whichever chair provided the most comfortable experience for 10 hrs. of
sitting had to be good enough.  I was also very impressed with the
interlocking system on the Wenger chair.

HTH

Scott Boyle
Technical Director
Carroll College

New to the list and looking to purchase new Chairs for a flexible 
space.  Narrowed it down to the Wenger Portable Audience Chair and the 
Clarin 4400.  Does anyone use these particular chairs and or have an 
opinion about them?  The Wenger is more comfortable, but storing them 
is a bear.  Or if you have a product that you love, let me know.
Thanks,
Robbie Hayes
Georgetown University



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

Message-ID: <4208E8CA.2050207 [at] fuse.net>
Date: Tue, 08 Feb 2005 11:28:58 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Welding Shop Equipment
References: <list-17378770 [at] prxy.net>
In-Reply-To: <list-17378770 [at] prxy.net>

RHolen [at] vinu.edu wrote:

> I am getting a new theatre and a new scene shop. I have been asked to put
> together a list of welding shop equipment.
> The air handling equipment has already been ordered. Any suggestions as to
> which is the best Brands and most useful.
> MIG, TIG, Chop Saw, Metal Band Saw, ie? I think I can get what I ask for?
> 

Welding gear:  I am a fan of Miller, I own a few of my own 
and we run several in the shop.  Excellent reliability, easy 
to get parts and supplies when you need them.

IF you are thinking you might do aluminum, I'd strongly urge 
you to look at the Miller 210 pulser.  It will do steel to 
3/8" and will weld aluminum from 1/16" up to 3/8".  Overall 
a great utility unit.

If you just want to do steel, look at the Millermatic 250.

If you set up a dedicated welding shop, think about a wire 
feeder on an overhead arm that allows you to reach the whole 
shop without dragging the welding machine around.

The autodark welding helmets are great and they will help 
your students avoid getting flashed while they learn. 
Welding jackets with leather sleeves are a nice compromise 
between the cotton jackets that really don't offer any 
protection against contact and the expense of a full leather 
jacket.

Get welding curtains and portable screens to protect the 
rest of the workers.

There's no substitute for oxy acetylene when you just want 
to get something hot.  You might not need a big rig, or use 
it very often, but it can save your ass once in a while.

Plasma cutters are neat!  There is a learning curve for some 
of them, and it really helps to have an air dryer as any 
moisture in the air line really causes trouble.

Cold saws are so much nicer in every way.  They growl, they 
don't scream, they spit out cold metal saw shavings that 
travel inches, instead of hot sparks that travel feet, and 
they are accurate to 32nds of an inch.  With a few tricks 
you can remove the slimmest slice off the end of a tube.

Get a good selection of small handheld grinders.  Try them 
out while wearing gloves, make sure the switch is easy to 
operate.  I personally hate the paddle switches, they tend 
to pinch me.  YMMV

Get a good drill press.  If you can dedicate it specifically 
to metal work, get one you can hook up a coolant flood 
system to.  If you really can afford it, get a mill/drill so 
you can cut slots and do simple machine work.

A nice bench grinder is great, a belt/disc sander dedicated 
to steel work is even better, both is heaven.

When you gotta bend a bracket for something, a good vise and 
or an anvil and a big hammer will do it for you.  If you 
need 20 brackets that match, you want a Hossfeld bender.

Get a tubing roller for rolling radius bends in square and 
rectangular tubing.  You can build this from plans in the 
tech expo guide from 1991.

Clamps!   Get hundreds of them!  Then order more!
I love the vise grip swivel pad models, and the Kant-twist 
welding clamps, but a few bar clamps come in handy when you 
need to pull something into square.

Think about your main welding work surface.  The shop floor 
will do, and regular plywood table tops are OK, but if you 
can dedicate the space, go with a Grid Table.  Mine is 
5'x20' and has a 1" bar on about 1' centers.  Include a good 
solid square fence, and the process of welding scenery is 
almost made fun!

If you want pictures or drawing for a grid table or flying 
feeder, I'll happily send them to you.

Stuart


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

In-Reply-To: <list-17686176 [at] prxy.net>
Subject: Re: Super Bowl Intermission
Message-ID: <OF3028B609.C2CE3225-ON85256FA2.0059CE9F-85256FA2.005A0319 [at] uncg.edu>
From: Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
Date: Tue, 8 Feb 2005 11:22:50 -0500

Kristi wrote:

"Given the acoustical challenges of playing in the midst of a stadium that 
size, I'd HOPE he's lip synching. Imagine having the live sound plus all 
the echos. UGH.

Bring on the University of Wisconsin Marching Band for a REAL half time 
show!!!"


Kristi, you had a typo because the band name for a real halftime show is 
spelled The Ohio State University Marching Band   TBDBITL    :)  ;)



Chip Haas
Technical Director
Department of Theatre
The University of North Carolina at Greensboro

336-334-3891

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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Tue, 08 Feb 2005 11:31:16 -0500
Subject: Re: You know it's going to be a bad show day when.
Reply-to: kruling [at] esta.org
Message-ID: <4208A304.29427.6E115E [at] localhost>

It wasn't that bad, but it did get off to a rocky start with the main 
act missing at curtain time. 

I stagemanaged a jazz concert with Bobby Hutcherson and an opening 
act I have forgotten. By curtain time, Hutcherson had not arrived, 
but the opening act had. We had a full house that was yelling for us 
to start, and getting louder and louder, so we started with just the 
opening act and hoped that Hutcherson would show up before they 
stopped playing.  

Part way through the opening set, Hutcherson showed up pushing his 
vibraphone through the stage door with one hand and holding the 
instrument's motor in the other. He mumbled something about, "Do you 
think you could...?" The shop had a jar of miscellaneous screws, and 
I was able to find ones to put the motor back in place, and it worked 
fine. 

It was a memorable concert. The house staff was inadequate to deal 
with the crowd. When the curtain opened for the first set, clouds of 
sweet-smelling smoke rolled from the house onto the stage. Clean up 
after the concert took longer than usual because of the large number 
of empty Mickey Big Mouth ale bottles on the floor.

Hutcherson was good. The opening act was loud. The audience was 
frightening. 

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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Tue, 8 Feb 2005 16:33:22 GMT
Subject: Re: You know it's going to be a bad show day when....
Message-Id: <20050208.083420.12571.40943 [at] webmail05.lax.untd.com>


Many years ago, I was in the lobby dealing with some administrative  matters a few moments before curtain of a show that I had designed and produced, and in walks in a very influential theatre critic from the major periodical. I immediately asked if the Critic wished a Press Package, and apologized for not having the Reviewer's preferred seat available, because the reviewer came without making a reservation. In the most theatrical voice, the Reviewer stated that the purpose of the visit was "not to praise the show, but to bury it", a paraphrase of a line from from 'Julius Caesar' by Shakespeare. I politely inquired why. Apparently, one of the actors had called the reviewer at home many times to solicit a review, and the critic was mad about this. I attempted to explain that I did not ask the actor to do this, that I paid a Publicist to prepare and mail press releases to the offices of the appropriate periodicals, and inquired why I should suffer economically through decreased box office revenue due to a bad review, due to a breach in protocol by an actor. I was told in no uncertain terms that I was responsible for the actions of the actor, and had to suffer the consequences for any untoward conduct by an actor, just as I would benefit from any unauthorized TV talk show appearance by an actor. I got though it, but the Director, other Designers, and actors took a hit that was not their fault. I never embarrassed the actor by revealing this knowledge, but I had to remind future casts that they were not to contact the press without clearing it with the publicist.
/s/ Richard

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

Date: Tue, 08 Feb 2005 11:37:27 -0500
Subject: Clear-com interfacing?
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE2E54F7.16481%brooklyn [at] dopher.com>
In-Reply-To: <list-17776887 [at] prxy.net>

As much as I'd love to contribute a war story for worst show/week, I'll
resist.  I've seen more than my share of catastrophes, some involving
permanent injury, but fortunately nothing that meant sending flowers to
someone's wife/mother.  Due to all of that, I'm a bit of a safety freak;
some call me paranoid, I call it self-preservation.  Theatre is a dangerous
sport!

OK, the real reason I'm posting:

I'm involved in a production where one of the dance pieces will be performed
by two groups of dancers on opposite coasts.  Yes, that's right, 2,000 miles
apart and they'll be performing a single piece together.  Through the
miracle of modern technology, we hope to make this the slickest merger of
multi-site performance we've ever seen -- and we're pretty good at this
already.

This time, though, the need for a unified communications system is pretty
clear.  Each venue has a Clear-Com system, and Clear-Com makes the AC-10H
module, which allows interfacing Clear-Com with 4-wire com systems,
theoretically including telephone.  So we're thinking of installing this at
both venues, and connecting the two sites with a simple phone call.  Using
two of the 12 audio streams the performance is sending over Internet2 is
probably not wise, mostly for political reasons. I hate to re-invent a wheel
that TV invented long ago, but the last few live location shots I was at,
they didn't have anything fancy to communicate with the home station -- just
company cell phones!

So has anybody done this kind of connection before?  Or something similar?

An article on a previous, simpler version of what we're doing is here:
http://journalism.nyu.edu/pubzone/ReadMe/past/3.0/rimas_3.html

Thanks in advance,
Cris Dopher, LD


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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Tue, 8 Feb 2005 16:36:37 GMT
Subject: Re: Source for architectural columns
Message-Id: <20050208.083724.12571.40970 [at] webmail05.lax.untd.com>


Forget Disney. Patronize Warner Bros.!
/s/ Richard


Warner Bros. Staff Shop, under construction services
http://wbsf.warnerbros.com/home.html
Disney Studio Staff Shop
http://studioservices.go.com/production/contacts.html
Though they're Hollywood studios, they're surprisingly affordable.  
Michael Millar



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

Message-Id: <6.2.1.2.0.20050208113616.04007a08 [at] mail.insightbb.com>
Date: Tue, 08 Feb 2005 11:38:19 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Super Bowl Intermission
In-Reply-To: <list-17814519 [at] prxy.net>
References: <list-17686176 [at] prxy.net>
 <list-17814519 [at] prxy.net>

I am truly stunned at the lack of spelling ability.  The band name for a 
half-time show is correctly spelled "Purdue University Marching Band."  ;-)

Mike

At 11:22 AM 2/8/2005, Christopher Haas CEHAAS wrote:

>Bring on the University of Wisconsin Marching Band for a REAL half time
>show!!!"
>
>
>Kristi, you had a typo because the band name for a real halftime show is
>spelled The Ohio State University Marching Band   TBDBITL    :)  ;)


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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: You know it's going to be a bad show day when....
Date: Tue, 8 Feb 2005 08:39:44 -0800
Message-ID: <006e01c50dfc$cc247c30$8d90fea9 [at] DrDoomsComputer>
In-Reply-To: <list-17815754 [at] prxy.net>

Richard, you are always, and I mean always amazing and I salute your
professionalism. Doom

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment
Industry Performing Arts Personnel (Riggers, and Public Assembly and
Educational Technicians) www.riskit.com/workshops    International
Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
ladesigners [at] juno.com
Sent: Tuesday, February 08, 2005 8:33 AM
To: Stagecraft
Subject: Re: You know it's going to be a bad show day when....

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


Many years ago, I was in the lobby dealing with some administrative
matters a few moments before curtain of a show that I had designed and
produced, and in walks in a very influential theatre critic from the
major periodical. I immediately asked if the Critic wished a Press
Package, and apologized for not having the Reviewer's preferred seat
available, because the reviewer came without making a reservation. In
the most theatrical voice, the Reviewer stated that the purpose of the
visit was "not to praise the show, but to bury it", a paraphrase of a
line from from 'Julius Caesar' by Shakespeare. I politely inquired why.
Apparently, one of the actors had called the reviewer at home many times
to solicit a review, and the critic was mad about this. I attempted to
explain that I did not ask the actor to do this, that I paid a Publicist
to prepare and mail press releases to the offices of the appropriate
periodicals, and inquired why I should suffer economically through
decreased box office revenue due to a bad review, due to a breach in
protocol by an actor. I was told in no uncertain terms that I was
responsible for the actions of the actor, and had to suffer the
consequences for any untoward conduct by an actor, just as I would
benefit from any unauthorized TV talk show appearance by an actor. I got
though it, but the Director, other Designers, and actors took a hit that
was not their fault. I never embarrassed the actor by revealing this
knowledge, but I had to remind future casts that they were not to
contact the press without clearing it with the publicist.
/s/ Richard


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

Message-id: <fc.00757e4300fbecae3b9aca0011ac93e8.fbecb4 [at] worcesteracademy.org>
Date: Tue, 08 Feb 2005 11:44:44 -0500
Subject: Re: You know it's going to be a bad show day when....
From: "Joshua Webb" <jwebb [at] worcesteracademy.org>
References: <list-17812905 [at] prxy.net>
In-Reply-To: <list-17812905 [at] prxy.net>

Too bad he wasn't lucky enough to have it effect his memory of Startship
altogether, I know I still suffer.


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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Tue, 08 Feb 2005 11:44:48 -0500
Subject: Re: lime light
Reply-to: kruling [at] esta.org
Message-ID: <4208A630.5111.7A7696 [at] localhost>
In-reply-to: <list-17701304 [at] prxy.net>

> 
> just think though, , with the greenish glow of Lime Light, , Mimi
> looks REALLY ill !

Lime light is named for the mineral that is heated to white-hot 
incandescence, not for the color of the light produced. 



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

Message-id: <fc.00757e4300fbecce3b9aca005630c635.fbecd7 [at] worcesteracademy.org>
Date: Tue, 08 Feb 2005 11:48:30 -0500
Subject: Re: Super Bowl Intermission
From: "Joshua Webb" <jwebb [at] worcesteracademy.org>
References: <list-17686176 [at] prxy.net>
 <list-17814519 [at] prxy.net>
 <list-17816194 [at] prxy.net>
In-Reply-To: <list-17816194 [at] prxy.net>

Michigan State University Marching Band (led by John Madden ;-)


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

Subject: RE: You know it's going to be a bad show day when.
Date: Tue, 8 Feb 2005 08:53:20 -0800
Message-ID: <555928311F8B2943B65FC7197942C3B73239FD [at] es1.bsdnet.wednet.edu>
From: "Storms, Randy" <rstorms [at] bham.wednet.edu>


I haven't been following this thread, but if you haven't heard the Peter =
Pan/Fiasco show from This American Life on NPR, it's a *classic* =
narrative of theatrical mishap.  I have a copy on MP3, but no way to =
share it...

-- r.

Randy Storms
rstorms [at] bham.wednet.edu

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

Message-Id: <a06210208be2ea07e638d [at] [192.168.123.100]>
In-Reply-To: <list-17816194 [at] prxy.net>
References: <list-17686176 [at] prxy.net> <list-17814519 [at] prxy.net>
 <list-17816194 [at] prxy.net>
Date: Tue, 8 Feb 2005 12:00:55 -0500
From: Brad Spachman <bspachman [at] att.net>
Subject: Re: Super Bowl Intermission

Heh. I can see the problem with all you people going to state 
schools...an inability to spell half-time show as "Northwestern 
University Marching Band"... :-)

Best,
Brad


>I am truly stunned at the lack of spelling ability.  The band name 
>for a half-time show is correctly spelled "Purdue University 
>Marching Band."  ;-)
>
>Mike
>
>At 11:22 AM 2/8/2005, Christopher Haas CEHAAS wrote:
>
>>Bring on the University of Wisconsin Marching Band for a REAL half time
>>show!!!"
>>
>>
>>Kristi, you had a typo because the band name for a real halftime show is
>>spelled The Ohio State University Marching Band   TBDBITL    :)  ;)


-- 
Brad Spachman
bspachman [at] att.net

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

Message-Id: <6.2.1.2.0.20050208120855.03f91c00 [at] mail.insightbb.com>
Date: Tue, 08 Feb 2005 12:09:52 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Super Bowl Intermission
In-Reply-To: <list-17819169 [at] prxy.net>
References: <list-17686176 [at] prxy.net>
 <list-17814519 [at] prxy.net>
 <list-17816194 [at] prxy.net>
 <list-17819169 [at] prxy.net>

Anyone else notice that these are all Big Ten schools?  Seems no one else 
is in contention...

Mike

At 12:00 PM 2/8/2005, Brad Spachman wrote:

>Heh. I can see the problem with all you people going to state schools...an 
>inability to spell half-time show as "Northwestern University Marching 
>Band"... :-)
>
>Best,
>Brad
>
>
>>I am truly stunned at the lack of spelling ability.  The band name for a 
>>half-time show is correctly spelled "Purdue University Marching Band."  ;-)
>>
>>Mike
>>
>>At 11:22 AM 2/8/2005, Christopher Haas CEHAAS wrote:
>>
>>>Bring on the University of Wisconsin Marching Band for a REAL half time
>>>show!!!"
>>>
>>>
>>>Kristi, you had a typo because the band name for a real halftime show is
>>>spelled The Ohio State University Marching Band   TBDBITL    :)  ;)
>
>
>--
>Brad Spachman
>bspachman [at] att.net


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

Message-ID: <4208F64D.3040307 [at] fuse.net>
Date: Tue, 08 Feb 2005 12:26:37 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Super Bowl Intermission
References: <list-17686176 [at] prxy.net> <list-17814519 [at] prxy.net> <list-17816194 [at] prxy.net> <list-17819169 [at] prxy.net> <list-17820365 [at] prxy.net>
In-Reply-To: <list-17820365 [at] prxy.net>

Mike Brubaker wrote:


> Anyone else notice that these are all Big Ten schools?  Seems no one 
> else is in contention...

Real sports don't have a half time show...


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

From: "Bob Robins" <hipplights [at] gator.net>
Subject: RE: Super Bowl Intermission
Date: Tue, 8 Feb 2005 12:20:31 -0500
Message-ID: <D365D01A2E29A74E8DEEE32D050E9DE930D8A7 [at] invalid.168.192.in-addr.arpa>
In-Reply-To: <D365D01A2E29A74E8DEEE32D050E9DE9401ABB [at] invalid.168.192.in-addr.arpa>

The Pride of the Sunshine, The University of Florida Fighting Marching Band.

Bob Robins
Hippodrome State Theatre
25 SE 2nd Place
Gainesville FL 32601
352.373.5968
lighting [at] thehipp.org



>Anyone else notice that these are all Big Ten schools?  Seems no one else 
is in contention...<



-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005
 


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

Message-ID: <4208F6EE.A94003EB [at] cybercom.net>
Date: Tue, 08 Feb 2005 12:29:18 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Clear-com interfacing?
References: <list-17816080 [at] prxy.net>



"C. Dopher" wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> As much as I'd love to contribute a war story for worst show/week, I'll
> resist.  I've seen more than my share of catastrophes, some involving
> permanent injury, but fortunately nothing that meant sending flowers to
> someone's wife/mother.  Due to all of that, I'm a bit of a safety freak;
> some call me paranoid, I call it self-preservation.  Theatre is a dangerous
> sport!
>
> OK, the real reason I'm posting:
>
> I'm involved in a production where one of the dance pieces will be performed
> by two groups of dancers on opposite coasts.  Yes, that's right, 2,000 miles
> apart and they'll be performing a single piece together.  Through the
> miracle of modern technology, we hope to make this the slickest merger of
> multi-site performance we've ever seen -- and we're pretty good at this
> already.
>
> This time, though, the need for a unified communications system is pretty
> clear.  Each venue has a Clear-Com system, and Clear-Com makes the AC-10H
> module, which allows interfacing Clear-Com with 4-wire com systems,
> theoretically including telephone.  So we're thinking of installing this at
> both venues, and connecting the two sites with a simple phone call.  Using
> two of the 12 audio streams the performance is sending over Internet2 is
> probably not wise, mostly for political reasons. I hate to re-invent a wheel
> that TV invented long ago, but the last few live location shots I was at,
> they didn't have anything fancy to communicate with the home station -- just
> company cell phones!
>
> So has anybody done this kind of connection before?  Or something similar?
>
> An article on a previous, simpler version of what we're doing is here:
> http://journalism.nyu.edu/pubzone/ReadMe/past/3.0/rimas_3.html
>
> Thanks in advance,
> Cris Dopher, LD

    I'd get a pair of the telephone bridges, they are made mostly for the
radio talk show market, so check your broadcast supply catalogs.  Those
will give you line level audio out and take line level audio in.  You have to
screw around with them for the echo cancellation, which is a not too difficult
if you have the manual.   Fairly straightforward from there.

    --Dale



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

Subject: RE: Source for architectural columns
Date: Tue, 8 Feb 2005 12:28:25 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C703 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> I am looking for a source for light weight, (plastic,=20
> styrofoam, vacuum
> mold) architectural column parts - Doric or Tuscan. I would=20
> appreciate pointers to websites of companies that offer these=20
> items for sale or rental. Thanks

In the past I've gotten them from Global Manufacturing Solutions
(http://www.globalms.com/).  Decent turnaround time and decent
cost...though they don't rent (AFAIK).  They'll also do custom shapes as
well...

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

In-Reply-To: <list-17814519 [at] prxy.net>
References: <list-17814519 [at] prxy.net>
Message-Id: <817A92A6-79F8-11D9-BC99-000393BB489C [at] ucla.edu>
From: Samuel Jones <sjones [at] ucla.edu>
Subject: Re: Super Bowl Intermission
Date: Tue, 8 Feb 2005 09:40:21 -0800

Paul McCartney ...  Marching Band ...
Marching Band  ... Paul McCartney ...
Paul McCartney ...  Marching Band ...
Marching Band  ... Paul McCartney ...

This is an easy call, and only in the Big 10 and Texas is the choice 
for Marching Band.

Sam

Samuel L. Jones
Theater Production Supervisor, Dance Program
Dept. of World Arts and Cultures, UCLA
sjones [at] arts.ucla.edu
==========================================================

On Feb 8, 2005, at 8:22 AM, Christopher Haas CEHAAS wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Kristi wrote:
>
> "Given the acoustical challenges of playing in the midst of a stadium 
> that
> size, I'd HOPE he's lip synching. Imagine having the live sound plus 
> all
> the echos. UGH.
>
> Bring on the University of Wisconsin Marching Band for a REAL half time
> show!!!"
>
>
> Kristi, you had a typo because the band name for a real halftime show 
> is
> spelled The Ohio State University Marching Band   TBDBITL    :)  ;)
>
>
>
> Chip Haas
> Technical Director
> Department of Theatre
> The University of North Carolina at Greensboro
>
> 336-334-3891
>
>


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

Message-ID: <3166.129.252.241.105.1107885603.squirrel [at] webmail.columbia.sc>
In-Reply-To: <list-17818086 [at] prxy.net>
References: <list-17818086 [at] prxy.net>
Date: Tue, 8 Feb 2005 13:00:03 -0500 (EST)
Subject: Re: You know it's going to be a bad show day when.
From: usctd [at] columbia.sc

Here is a link to it.  Enjoy!

http://www.thislife.org/pages/descriptions/97/61.html
-- 
Eric Rouse
TD-University of SC, Columbia
Freelance Foyboy

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>
> I haven't been following this thread, but if you haven't heard the Peter
> Pan/Fiasco show from This American Life on NPR, it's a *classic* narrative
> of theatrical mishap.
>


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

Message-ID: <BAY15-F35F3AB56ABE1CADB47EC92C2740 [at] phx.gbl>
In-Reply-To: <list-17821446 [at] prxy.net>
From: "Delbert Hall" <flyingfx [at] hotmail.com>
Subject: Re: Super Bowl Intermission
Date: Tue, 08 Feb 2005 12:56:12 -0500

Totally correct Bob!!!! Go gators!!!!!

Delbert L. Hall
423-773-HALL (4255)



>
>The Pride of the Sunshine, The University of Florida Fighting Marching 
>Band.
>
>Bob Robins
>Hippodrome State Theatre
>25 SE 2nd Place
>Gainesville FL 32601
>352.373.5968
>lighting [at] thehipp.org
>
>
>
> >Anyone else notice that these are all Big Ten schools?  Seems no one else
>is in contention...<
>
>
>
>--
>No virus found in this outgoing message.
>Checked by AVG Anti-Virus.
>Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005
>
>



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

Date: Tue, 08 Feb 2005 18:18:19 +0000
From: IAEG [at] aol.com
Subject: Re: lime light
Message-ID: <3330C635.29F1DFB2.00002B9E [at] aol.com>

correct you are, , , but according to most historical records I have read it did give off a greenish light

keith

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

Message-ID: <BAY24-DAV81FA3D9E8DB064A9669CCBD740 [at] phx.gbl>
From: "Jason" <OneOccy [at] hotmail.com>
References: <list-17544844 [at] prxy.net> <list-17741688 [at] prxy.net> <list-17761952 [at] prxy.net>
Subject: Re: You know it's going to be a bad show day when....
Date: Tue, 8 Feb 2005 11:33:40 -0800


It does look that way but all the times are the same... MSN must have 
screwed up is all I can say.........



----- Original Message ----- 
From: "Tony" <deeming.tony [at] btinternet.com>


> You certainly worked a lot with Starship in the 80's (judging by the 
> umpteen
> posts on the topic!!)
> 8-)) 

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

Date: Tue, 08 Feb 2005 13:48:04 -0600
From: Fred Fisher <fwfisher [at] wisc.edu>
Subject: carbon filament lamps
Message-id: <5.2.1.1.2.20050208134343.019511c8 [at] wiscmail.wisc.edu>

We're looking for a source of carbon filament lamps.  Min. 40W, max 60W. , 
med. screw base, A shape although others will be considered.
Thanks,
Fred Fisher


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

Subject: Scrollwork material ideas
Date: Tue, 8 Feb 2005 14:52:33 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C705 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

For "...Earnest" our designer is throwing me a bit of a curve--well,
lots of them.  He's looking for a lot of decorative scrollwork such as
one might find typically made out of cast iron.  Partly because of
budget constraints and partly because some of this needs to be able to
handle a mostly-unsupported span of about 40', but mostly because he'd
like to shape it on-site I'm looking for a replacement material.

Yes, I know working with ethafoam and such...but if it's at all
possible, I'd rather not have to go through a "hardening" stage once the
form is picked.

Ideally, what I'd be looking for would be an inexpensive supplier of a
material slightly less springy than those blue flexible drafting curve
tools.  Something that would take and hold an intricate shape, yet be
lightweight and "economical".  Any ideas?

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

In-Reply-To: <list-17776887 [at] prxy.net>
References: <list-17776887 [at] prxy.net>
Message-Id: <9bf40f7ccfa4115ffd63306024789b63 [at] hawaii.rr.com>
From: Karen Archibald <KArchibald [at] hawaii.rr.com>
Subject: Suit of Armor
Date: Tue, 8 Feb 2005 09:55:33 -1000

I'm designing the set for a production of The Miser at a small college 
here.  The play calls for a suit of armor on stage throughout - which 
walks out in Act IV.  We've got the gag worked out with a short 
blackout and a small turntable/niche in the wall.  The real issue is 
finding 2 identical suits of armor, adjustable to the size of the 
actor.  I am awaiting a catalog from Tobin's Lake Studios, but does 
anyone have any other sources for under $500 for two suits?  Anyone 
familiar with the Tobin's Lake suits - which come in sheets and require 
cutout and assembly I believe?  Thanks.


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

Message-ID: <42091C38.F5EA00D4 [at] cybercom.net>
Date: Tue, 08 Feb 2005 15:08:24 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Scrollwork material ideas
References: <list-17834900 [at] prxy.net>



Paul Schreiner wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> For "...Earnest" our designer is throwing me a bit of a curve--well,
> lots of them.  He's looking for a lot of decorative scrollwork such as
> one might find typically made out of cast iron.  Partly because of
> budget constraints and partly because some of this needs to be able to
> handle a mostly-unsupported span of about 40', but mostly because he'd
> like to shape it on-site I'm looking for a replacement material.
>
> Yes, I know working with ethafoam and such...but if it's at all
> possible, I'd rather not have to go through a "hardening" stage once the
> form is picked.
>
> Ideally, what I'd be looking for would be an inexpensive supplier of a
> material slightly less springy than those blue flexible drafting curve
> tools.  Something that would take and hold an intricate shape, yet be
> lightweight and "economical".  Any ideas?

    Black foamcore.  Available at Staples in 2x3 foot sheets for a couple
bucks.  Larger sheets available by special order through your local art
supply house.  This is the stuff that is used to make standup store displays

and the like. LIght, self-supporting for several feet.  Cut out with razor
knives.  Paintable.

    --Dale



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

Date: Tue, 8 Feb 2005 12:14:39 -0800
Subject: Re: carbon filament lamps
From: James Feinberg <feinberg [at] sandiego.edu>
In-Reply-To: <list-17834829 [at] prxy.net>
Message-Id: <0F9AC938-7A0E-11D9-878B-00039367B7D4 [at] sandiego.edu>

I'm not sure that they're authentic carbon filament, but try  
Rejuvenation lighting and hardware.  Their catalog is great fun to look  
through, but here's a direct link to their lamps:

http://www.rejuvenation.com/typepageLight%20Bulbs/templates/ 
houseparts_group.html?iqg=5bb3ecf584027bfecda1a04bac1a41f9

--James Feinberg
University of San Diego

On Tuesday, February 8, 2005, at 11:48 AM, Fred Fisher wrote:
> We're looking for a source of carbon filament lamps.  Min. 40W, max  
> 60W. , med. screw base, A shape although others will be considered.
> Thanks,
> Fred Fisher


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

Date: Tue, 08 Feb 2005 15:36:52 -0500
From: MissWisc [at] aol.com
Subject: Re: Super Bowl Intermission
Message-ID: <30940AF8.4B4AE582.007B9F2A [at] aol.com>

Chris... a double header of Ohio and Wisconsin marching bands??? That's not football, that's nirvana!

Kristi

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

Message-ID: <000d01c50e1e$3f4f5a60$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-17834900 [at] prxy.net>
Subject: Re: Scrollwork material ideas
Date: Tue, 8 Feb 2005 12:39:12 -0800

> Ideally, what I'd be looking for would be an inexpensive supplier of a
> material slightly less springy than those blue flexible drafting curve
> tools.  Something that would take and hold an intricate shape, yet be
> lightweight and "economical".  Any ideas?


Don't know if you can make this suggestion work, but if not, at least the 
advice was worth the cost.  :)  I have done lots of decorative "wrought 
iron" work using Romex wiring.  The casing doesn't like spray paint though - 
unless you paint a latex primer over it first.

   -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


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

Date: Tue, 08 Feb 2005 15:41:58 -0500
From: MissWisc [at] aol.com
Subject: Re: Super Bowl Intermission
Message-ID: <6C29C21D.18B11E43.007B9F2A [at] aol.com>

<< they're all big ten schools...>>

That's because in the midwest, football is just another excuse to party and every party needs music. :)

Kristi

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

Message-ID: <1107895711.4209259f4c4a0 [at] webmail.bard.edu>
Date: Tue,  8 Feb 2005 15:48:31 -0500
From: doran [at] bard.edu
Subject: Re: Scrollwork material ideas
References: <list-17834900 [at] prxy.net>
In-Reply-To: <list-17834900 [at] prxy.net>

Paul,

You could try Romex cable, maybe 12/2&Ground.  We did that here years 
ago, and it worked pretty well, painted and with a 20' throw.  The local 
BuildersLowesDepot ought to have some varying lengths in boxes and on 
rolls for a pretty fair price.

You can lay out your art work on the deck, shape the Romex to that, and tie 
or epoxy the joints.  Then you can screw the whole business to your frame.

Andy Champ-Doran
Technical Director
Bard College Theater


Quoting Paul Schreiner <pschreiner [at] rmwc.edu>:
>He's looking for a lot of decorative scrollwork such as
> one might find typically made out of cast iron.  Partly because of
> budget constraints and partly because some of this needs to be able to
> handle a mostly-unsupported span of about 40', but mostly because he'd
> like to shape it on-site I'm looking for a replacement material.
> Yes, I know working with ethafoam and such...but if it's at all
> possible, I'd rather not have to go through a "hardening" stage once the
> form is picked.
>Something that would take and hold an intricate shape, yet be
> lightweight and "economical".  Any ideas?


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

Date: Tue, 08 Feb 2005 14:52:57 -0600
From: Fred Fisher <fwfisher [at] wisc.edu>
Subject: Re: carbon filament lamps
In-reply-to: <list-17836997 [at] prxy.net>
Message-id: <5.2.1.1.2.20050208145006.01987c38 [at] wiscmail.wisc.edu>
References: <list-17834829 [at] prxy.net>

Thanks for the link, James.  I also Googled carbon filament and found a 
Lehman's link and a place called House of Antique Hardware.  Great places 
to browse.
Fred Fisher



>I'm not sure that they're authentic carbon filament, but try
>Rejuvenation lighting and hardware.  Their catalog is great fun to look
>through, but here's a direct link to their lamps:
>
>http://www.rejuvenation.com/typepageLight%20Bulbs/templates/ 
>houseparts_group.html?iqg=5bb3ecf584027bfecda1a04bac1a41f9
>
>--James Feinberg
>University of San Diego
>
>On Tuesday, February 8, 2005, at 11:48 AM, Fred Fisher wrote:
>>We're looking for a source of carbon filament lamps.  Min. 40W, max
>>60W. , med. screw base, A shape although others will be considered.
>>Thanks,
>>Fred Fisher


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

Date: Tue, 08 Feb 2005 16:04:16 -0500
Subject: Re: Super Bowl Intermission
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE2E9380.37C0%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-17838863 [at] prxy.net>

No, It's a good reason to get another beer.

Steve

> From: MissWisc [at] aol.com
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Tue, 08 Feb 2005 15:36:52 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Super Bowl Intermission
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Chris... a double header of Ohio and Wisconsin marching bands??? That's not
> football, that's nirvana!
> 
> Kristi
> 
> 


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

Date: Tue, 08 Feb 2005 16:09:14 -0500
Subject: Re: Scrollwork material ideas
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE2E94AA.37C1%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-17836119 [at] prxy.net>

Any decent display artist could take your design
and scan it into their computer and cut it out
with a router.  Warner Brothers does it.  My
local display artist company does it.  It ain't
cheap but it's really cool, and lightweight.

Check the archives.  This subject was dealt
with in August '04.

Steve

> From: Dale Farmer <dale [at] cybercom.net>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Tue, 08 Feb 2005 15:08:24 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Scrollwork material ideas
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> 
> Paul Schreiner wrote:
> 
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>> 
>> For "...Earnest" our designer is throwing me a bit of a curve--well,
>> lots of them.  He's looking for a lot of decorative scrollwork such as
>> one might find typically made out of cast iron.  Partly because of
>> budget constraints and partly because some of this needs to be able to
>> handle a mostly-unsupported span of about 40', but mostly because he'd
>> like to shape it on-site I'm looking for a replacement material.
>> 
>> Yes, I know working with ethafoam and such...but if it's at all
>> possible, I'd rather not have to go through a "hardening" stage once the
>> form is picked.
>> 
>> Ideally, what I'd be looking for would be an inexpensive supplier of a
>> material slightly less springy than those blue flexible drafting curve
>> tools.  Something that would take and hold an intricate shape, yet be
>> lightweight and "economical".  Any ideas?
> 
> Black foamcore.  Available at Staples in 2x3 foot sheets for a couple
> bucks.  Larger sheets available by special order through your local art
> supply house.  This is the stuff that is used to make standup store displays
> 
> and the like. LIght, self-supporting for several feet.  Cut out with razor
> knives.  Paintable.
> 
> --Dale
> 
> 
> 
> 


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

Message-Id: <s208f023.072 [at] isugw.indstate.edu>
Date: Tue, 08 Feb 2005 17:00:03 -0500
From: "Ann Warren" <thwarren [at] isugw.indstate.edu>
Subject: Bad Day at the Theater

You know it is gong to be a bad load-in when the two local IA crew, who
have been assigned to work with you and fellow female partner, wink and
say 

"Now don't you worry.  We will get this up for you gals just fine."

Seven hours later, the four hour load-in is through with us "gals"
doing about two thirds of the work and having to convice the two hands,
who had a whole nine months of experience between the two of them, that
we did actually know the best and safest way to rig our scenery.  During
the strike I discovered that the photo-op that they had been asked to
assemble (which consisted of four flats and a header and took them the
better part of two hours to assemble) had the header attached with 3/4
inch screws.  I was amazed the piece did not fall on any of the people
attending the event.  The only thing these two where able to manage with
any consistency was their breaks.

Not a fun trip.  We also had a transformer for a piece of neon go out
and had to call in a local fellow and pay a Sunday rate.  

Ann Warren 
Scenic Studio Supervisor 
Indiana State University

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

From: roguerpj [at] mn.rr.com
Subject: Re: Suit of Armor
Date: Tue, 08 Feb 2005 16:48:37 -0600
Message-ID: <f9gi015toesacn33ogmfd7ck3igr487a19 [at] 4ax.com>
References: <list-17776887 [at] prxy.net> <list-17835173 [at] prxy.net>
In-Reply-To: <list-17835173 [at] prxy.net>

Try and see if you have a local branch of the SCA in your area.

This is a national group that has local chapters there main web site
is www.sca.org. Also see if maybe there is another reenactment group
that may have what you need.

Rob Johnson

On Tue, 08 Feb 2005 09:55:33 -1000, you wrote:

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>I'm designing the set for a production of The Miser at a small college=20
>here.  The play calls for a suit of armor on stage throughout - which=20
>walks out in Act IV.  We've got the gag worked out with a short=20
>blackout and a small turntable/niche in the wall.  The real issue is=20
>finding 2 identical suits of armor, adjustable to the size of the=20
>actor.  I am awaiting a catalog from Tobin's Lake Studios, but does=20
>anyone have any other sources for under $500 for two suits?  Anyone=20
>familiar with the Tobin's Lake suits - which come in sheets and require=20
>cutout and assembly I believe?  Thanks.


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

From: "Jack Morones" <jmorones [at] saddleback.edu>
Subject: RE: Suit of Armor
Date: Tue, 8 Feb 2005 15:24:01 -0800
Organization: Saddleback College
Message-ID: <000001c50e35$46005690$6500a8c0 [at] SCJACKLT>
In-Reply-To: <list-17848853 [at] prxy.net>

A good trick for plastic armor (you can paint it to look real) is using
1/4" ABS plastic sheets.  Cut a rough pattern of your actor's body, heat
and mold to the actor.  Pretty easy to do and inexpensive.

By the way, this is an old SCA trick for getting a quick set of armor.

Good Luck!

-Jack
(Also member of the SCA)

Jack R. Morones
Production Manager
McKinney Theatre



-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
roguerpj [at] mn.rr.com
Sent: Tuesday, February 08, 2005 2:49 PM
To: Stagecraft
Subject: Re: Suit of Armor


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

Try and see if you have a local branch of the SCA in your area.

This is a national group that has local chapters there main web site is
www.sca.org. Also see if maybe there is another reenactment group that
may have what you need.

Rob Johnson

On Tue, 08 Feb 2005 09:55:33 -1000, you wrote:

>For info, archives & UNSUBSCRIBE, see 
><http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>I'm designing the set for a production of The Miser at a small college
>here.  The play calls for a suit of armor on stage throughout - which 
>walks out in Act IV.  We've got the gag worked out with a short 
>blackout and a small turntable/niche in the wall.  The real issue is 
>finding 2 identical suits of armor, adjustable to the size of the 
>actor.  I am awaiting a catalog from Tobin's Lake Studios, but does 
>anyone have any other sources for under $500 for two suits?  Anyone 
>familiar with the Tobin's Lake suits - which come in sheets and require

>cutout and assembly I believe?  Thanks.


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

Message-ID: <42094C63.8030904 [at] fredonia.edu>
Date: Tue, 08 Feb 2005 18:33:55 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: carbon filament lamps
References: <list-17834829 [at] prxy.net>

Fred,
Try Rejuvenation Lamp and Fixture Co. in Portland, OR 
www.rejuvenation.com
888-401-1900

HTH,
Steve Rees, TD
SUNY-Fredonia

Fred Fisher wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> We're looking for a source of carbon filament lamps.  Min. 40W, max 60W. 
> , med. screw base, A shape although others will be considered.
> Thanks,
> Fred Fisher



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

From: FrankWood95 [at] aol.com
Message-ID: <88.2001a5c4.2f3aadf0 [at] aol.com>
Date: Tue, 8 Feb 2005 19:06:08 EST
Subject: Re: carbon filament lamps

In a message dated 08/02/05 19:53:21 GMT Standard Time, fwfisher [at] wisc.edu 
writes:

> We're looking for a source of carbon filament lamps.  Min. 40W, max 60W. , 
>  med. screw base, A shape although others will be considered.

I think that some manufacturers can still do small runs. A few years ago, I 
went round the Charles Rennie Mackintosh house, in the museum of Glasgow 
University. This is wholly original, carbon filament lamps and all. I asked the 
guide, and he said that they had a batch made from time to time. I think that it 
was Mazda.


Frank Wood

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

Message-Id: <3.0.6.32.20050208182555.0182cc88 [at] pop.west.cox.net>
Date: Tue, 08 Feb 2005 18:25:55
From: CB <psyd [at] cox.net>
Subject: Re: You know it's going to be a bad show day when....

>Easy,
>you get to the theatre for a 7 am call and there is no coffee within a
>2 mile radius to the building.

That's just a product of bad planning.  For a 7am call, I wake up a half an
hour early (at 6) and make my own cappucino in the room.  Nowadays, I lso
put the number of the nearest Starbucks (in case of emergencies) into the
cell phone DOA.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Reply-To: <drkrajec [at] stritch.edu>
From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: You know it's going to be a bad show day....
Date: Tue, 8 Feb 2005 19:27:05 -0600
Message-ID: <JKEMJFLLJELICALBEPDPKEFBCEAA.drkrajec [at] stritch.edu>
In-Reply-To: <list-17517223 [at] prxy.net>

It was the summer of '75 at Porthouse Summer Theatre in Ohio.  We were
beginning our summer season with "La Mancha".  Show time was 8:00PM.  At
about 8:15 PM, a summer thunderstorm rolls through.  Porthouse is an
open-air theatre (roof and no walls).  The storm was packing winds of 40 MPH
with gusts, and lots of rain.  The job of the stage crew was to pull the
curtain walls shut, but since the winds were so wicked the curtains just
blew in.  So the stage crew had to stand outside in a mean thunderstorm
holding the curtains shut while the wind and rain whipped at our bodies and
lighting danced around our ears.  Ten minutes later the storm has passed and
a beautiful post-storm sunset appears.  The thunderstorm, which has just
blown out to the east, hits a power sub-station and we go black.  Nobody
stopped anything.  The few emergency lights came on.  But not enough to
light the stage.  The faculty member in charge runs to the box office and
rips an emergency light off the wall.  Unbeknownst to us, it was an open wet
cell batter.  So he is standing there in the back of the house in a
three-piece suit holding the light to illuminate the stage with battery acid
all over his front (from chin to...well, his personals).
Someone then gets the idea to use our car headlights to light the stage.  So
we drive our cars just behind the audience and kind of shine them in the
general direction of the stage.  The whole time the show is going on.  The
orchestra, upstage behind the scenery, has been playing the past two numbers
from memory.  The conductor is leading them by counting out loud (quietly)
until he gets a pen light to conduct.
We got two standing ovations that night.  Go figure!



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

Message-Id: <3.0.6.32.20050208191254.0182cc88 [at] pop.west.cox.net>
Date: Tue, 08 Feb 2005 19:12:54
From: CB <psyd [at] cox.net>
Subject: RE: You know it's going to be a bad show day when....

>Anyone noticing a common theme through all these posts?  Why do most of
>them seem to involve truck issues?

And ya still go back for another Ryder?  
OK, no shit, there I was.  While touring with a very famous reggae artist's
band with his son (since he's now dead) fronting, we decided we would drive
through the nite after loadout, avoiding traffic, and sleep all day at the
next city.  Arriving bright and early the next day (in traffic...) one of
the ires hit a piece of curbing that had been broken off and was lying in
the street.  No chandce to stop, no chance to veer.  The outside pass
dualie si dead, Jim.  We go to the Ryder shop (not a store, thier shop) and
we get the third degree and the runaround for seven hours, when I call my
buddie's mom back in Tucson (she works for a Penske store) to ask how long
before I can get one of her trucks to come get me.  Fifteen minutes later,
a Penske pulls up and the Ryder d**k won't let me pull it into the yard.
"Fine!", says I, "Dump it where it lies and we'll wheel the stuff to the
new truck."  
	"You can't do that!" sez RD.   
	"You don't want to try and stop me, do ya?" queries I, batting my lashes
and looking all innicent and stuff.
Well, when the cops showed up, we had all but the smelly pillows and
sleeping bags and beer coolers on the new Penske (172 miles on it!) and the
cop walks up to me and asks what I'm doing.  I tell him I'm off to do a
show, the RD tells him that I owe for some and such and damages and etc,
and that he has a contract that states that he has the right to hold the
contents til we're contractually square.  I explain to the cop that I
didn't sign the contract, I just drive the truck and build and mix the
shows, and OBTW, this stuff was never on that truck.  The only stuff on the
truck, as far as the cop knows, are the stinkinhg sleepin bags, the mouldy
pillows, and some rank coolers.  "He can have those, if he wants 'em."
	RD - "No, I don't want them!  I want the stuff that was on the truck!"  
	CB - "You heard him, Norman, he doesn't want the coolers and stuff, put
'em on the Penske!  Hey, officer, you didn't see any of this stuff on that
truck, didja?"
	Cop - "Well, no... Hey RD, it looks like you have a civil claim, but I
can't detain this stuff on the Penske"
	CB - "Thanks officer, can I go now?"
	Cop - "Sure.  You have a nice day, and drive safe"
	RD - " * [at] #$*& [at] #$*#!& [at] )#&!&!

OTOH, most of the stories of really bad days can be summed up into the
phrase, "One time, on the road, I didn't plan well or prepare for
contingencies, and it bit me."  The rest are inevitable, and no amount of
planning will take care of it.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050208191929.0182cc88 [at] pop.west.cox.net>
Date: Tue, 08 Feb 2005 19:19:29
From: CB <psyd [at] cox.net>
Subject: Re: Super Bowl Intermission

>I'd HOPE he's lip synching. Imagine having the live sound plus all the echos.

Ye of little faith!  It would be bad, if electricians were mixing, or a
certain Wisconsonite that shall remain nameless.  Me, I'd put a buncha
monitors around the guy and make sure that they were louder than the
reflections.  I don't think that Paul would lipsync, but I could be wrong.
If he DID, it wouldn't be because he couldn't adequately hear himself.  
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050208193434.0182cc88 [at] pop.west.cox.net>
Date: Tue, 08 Feb 2005 19:34:34
From: CB <psyd [at] cox.net>
Subject: RE: You know it's going to be a bad show day when....

>And every time one of those lines came, the
>charming audience would take it up like a call-and-response

One decent usher with his wits about him could have solved the entire
problem.  With this audience, however, I begin to think about taking up the
cry to legalize retro-active abortions...
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA58E6CB [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: Showbiz Enterprise
Date: Tue, 8 Feb 2005 21:36:00 -0500 

Did any of you get an unsolicited email from ShowBiz Enterprise for stage
draperies?  I am curious if this is from the list or some other source.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati



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

From: "Kevin A. Patrick" <patrick_kevin [at] colstate.edu>
Subject: Reinforcing a teacup
Date: Tue, 8 Feb 2005 22:47:19 -0500
Organization: Columbus State University
In-reply-to: <list-17851433 [at] prxy.net>
Message-ID: <auto-000017868381 [at] prxy.net>

I'm experimenting tomorrow, but thought I would ask tonight for any
wisdom...

For an upcoming production of "Trestle at Pope Lick Creek", the script calls
for an actor to break a teacup that in turn cuts his hand.  He then plays
with the pieces, picks them up, and I believe carries them offstage.

So, now I'm stuck with breaking a cup that does NOT cut the actor's hand.
We're trying things I don't think will work first, before we go to options
like "the actor does not cradle the cup in his hand as he forcibly strikes
the stage with it."  

Tomorrow morning I'm going to try fiberglass and resin on the inside of the
cup for about 2/3rds coverage.  The idea is that 2/3rds of it will not
shatter and we can control the break.  The propsmaster tried scrim and, I
think, white glue with some success.

Any other ideas?

\<
Kevin Patrick
Theatre.colstate.edu

-- 
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Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005
 


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

Message-ID: <42098939.2080401 [at] att.net>
Date: Tue, 08 Feb 2005 22:53:29 -0500
From: David Marks <davidmarks [at] att.net>
Subject: Re: Reinforcing a teacup
References: <list-17868383 [at] prxy.net>
In-Reply-To: <list-17868383 [at] prxy.net>

Kevin A. Patrick wrote:

>Tomorrow morning I'm going to try fiberglass and resin on the inside of the
>cup for about 2/3rds coverage.  The idea is that 2/3rds of it will not
>shatter and we can control the break.  
>


To continue that thought, possibly carefully break 1/3rd of the cup, 
then glue it and reinforce the unbroken part to make sure it will break 
where you want it to.

Dave Marks


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

Message-ID: <4209927A.FBD3A320 [at] cybercom.net>
Date: Tue, 08 Feb 2005 23:32:59 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Reinforcing a teacup
References: <list-17868383 [at] prxy.net>



"Kevin A. Patrick" wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I'm experimenting tomorrow, but thought I would ask tonight for any
> wisdom...
>
> For an upcoming production of "Trestle at Pope Lick Creek", the script calls
> for an actor to break a teacup that in turn cuts his hand.  He then plays
> with the pieces, picks them up, and I believe carries them offstage.
>
> So, now I'm stuck with breaking a cup that does NOT cut the actor's hand.
> We're trying things I don't think will work first, before we go to options
> like "the actor does not cradle the cup in his hand as he forcibly strikes
> the stage with it."
>
> Tomorrow morning I'm going to try fiberglass and resin on the inside of the
> cup for about 2/3rds coverage.  The idea is that 2/3rds of it will not
> shatter and we can control the break.  The propsmaster tried scrim and, I
> think, white glue with some success.
>
> Any other ideas?

    Make the teacup pre-broken out of fiberglass or something durable
and has some mass to it.  Glue the pieces together with water soluble
glue, probably white glue is fine if the faces mate decently tightly.  Play
a SFX of teacup shattering when it is 'broken'.
    Alternatively, making a set up with white dyed sugar glass if you have
someone who can make a mold for them will give you a real broken one
with non dangerous edges. The broken ones can be melted and recast
as well.

    --Dale


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

Message-ID: <000501c50e60$7644d940$1f00000a [at] LFILaptop>
From: "Thad Kramer" <thad [at] nls.net>
References: <list-17776887 [at] prxy.net>
Subject: Re: You know its gonna be a bad day when your truck...
Date: Tue, 8 Feb 2005 22:33:09 -0600

Those of you who have had truck problems seem to have been unluckilly stuck 
with Ryders. I have had problems with the same in the past. Including a gig 
where we got ten blocks down the road from the theater in a truck purchsed 
from Ryder before it died. It seems that somebody had substituted a10 amp 
and a 15 amp fuse for two 40 amp fuses. A day later and another show call 
missed truck was working fine again.

Happily returning home from the first leg of a regional tour of AIDA in a 
Penske truck. :-P

Thad Kramer,
Lighting Design / Production


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

Message-ID: <42099704.57F98512 [at] cybercom.net>
Date: Tue, 08 Feb 2005 23:52:20 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: You know its gonna be a bad day when your truck...
References: <list-17776887 [at] prxy.net> <list-17872562 [at] prxy.net>



Thad Kramer wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Those of you who have had truck problems seem to have been unluckilly stuck
> with Ryders. I have had problems with the same in the past. Including a gig
> where we got ten blocks down the road from the theater in a truck purchsed
> from Ryder before it died. It seems that somebody had substituted a10 amp
> and a 15 amp fuse for two 40 amp fuses. A day later and another show call
> missed truck was working fine again.
>
> Happily returning home from the first leg of a regional tour of AIDA in a
> Penske truck. :-P
>
> Thad Kramer,
> Lighting Design / Production

I've never had a problem when renting a yellow ryder truck.  White ryder
trucks are really old Budget rent-a-car trucks, that they bought up from
sears when they decided that they needed a car rental operation in addition
to their very good truck rental operation.  Very different animals.  Basically,

of the rental place rents cars too, it's probably not a good place to rent a
real truck.
    U-haul, of course, it to avoided like the plague.  They do stupid shit like

registering a truck with GVW of 12000 lbs for 13000 pounds total.  that
one cost a friend of mine a multi-thousand dollar ticket and having to do
an emergency rental on a sunday.

    --Dale



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

From: "Andy Leviss" <Andy [at] DucksEchoSound.com>
Subject: RE: Super Bowl Intermission
Date: Tue, 8 Feb 2005 23:46:47 -0500
Organization: Duck's Echo Sound
Message-ID: <000c01c50e62$5d04b2a0$a19afea9 [at] AndyLeviss>
In-Reply-To: <list-17862538 [at] prxy.net>

Chris Babbie wrote, replying to Kristi:
> >I'd HOPE he's lip synching. Imagine having the live sound 
> plus all the 
> >echos.
--snip--
>  Me, I'd put a buncha monitors around the guy and make sure 
> that they were louder than the reflections.  I don't think 
> that Paul would lipsync, but I could be wrong. If he DID, it 
> wouldn't be because he couldn't adequately hear himself.  

And, let's not forget, McCartney isn't exactly a newbie to doing huge
stadiums. The Beatles were playing stadiums before I was even a glint in
my parents' eyes!

--Andy, en route to Houston, TX tomorrow
Owner/blogger-in-chief/general Grand Poobah
http://OneFromTheRoad.com
Tools, Toys, and Tales for the Theatrical Technician

-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.8.6 - Release Date: 2/7/2005
 


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

From: IAEG [at] aol.com
Message-ID: <1ab.31c366e6.2f3b09d5 [at] aol.com>
Date: Wed, 9 Feb 2005 01:38:13 EST
Subject: Re: Super Bowl Intermission


In a message dated 2/9/05 12:46:39 AM, Andy [at] DucksEchoSound.com writes:

<<  The Beatles were playing stadiums before I was even a glint in
my parents' eyes! >>

ever watch footage of the famous SHEA STADIUM concert?  and look at the 
"sound system"  

it's laughable by todays' standard, ,   

if memory serves me right, , SHURE VOCAL MASTER Columns,, spaced around the 
stadium

in the days BEFORE digital delay, , etc

yikes, , , with all that screaming, , and that sound sytem, , no one heard a 
thing that they were singing

I remember seeing Jimi Hendrix in Tampa in 1968, , in the old Curtis Hixon 
Convention Center, the entire sound system  was two Altec Lansing Voice of the 
Theater systems left and right AND it was being pumped into the house ceiling 
cabinets, , hidden behind the suspended tile ceiling, , those old three way 
concentric Altec Lansing 12" jobs, 

did we hear anything where we were ?   no way, , , just one big echo

very best, 

Keith Arsenault
International Arts & Entertainment Group
Tampa, FL

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

Message-ID: <4209B7A3.2000502 [at] peak.org>
Date: Tue, 08 Feb 2005 23:11:31 -0800
From: Pat Kight <kightp [at] peak.org>
Subject: Re: Reinforcing a teacup
References: <list-17868383 [at] prxy.net>
In-Reply-To: <list-17868383 [at] prxy.net>

Kevin A. Patrick wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I'm experimenting tomorrow, but thought I would ask tonight for any
> wisdom...
> 
> For an upcoming production of "Trestle at Pope Lick Creek", the script calls
> for an actor to break a teacup that in turn cuts his hand.  He then plays
> with the pieces, picks them up, and I believe carries them offstage.
> 
> So, now I'm stuck with breaking a cup that does NOT cut the actor's hand.
> We're trying things I don't think will work first, before we go to options
> like "the actor does not cradle the cup in his hand as he forcibly strikes
> the stage with it."  
> 
> Tomorrow morning I'm going to try fiberglass and resin on the inside of the
> cup for about 2/3rds coverage.  The idea is that 2/3rds of it will not
> shatter and we can control the break.  The propsmaster tried scrim and, I
> think, white glue with some success.

The best breakable crockery I've come up with has come from local ceramic 
shops. I have them pour what I want (vases, etc.), then either air-dry it 
or bisque-fire it.

Air-dried clay is fragile and crumbly, but if you paint it inside and out 
with acrylic paints, it's reasonably sturdy, will hold liquids and breaks 
easily with no sharp edges in fact, it takes some restraint on the actor's 
part to keep it from shattering into powder, but it's very, very safe.

What it won't give you is a sharp, crockery-breaking sound. For that, a 
bisque-firing creates a fragile ceramic that poses little risk to the 
actor. Again, paint it with acrylic.

You'll need multiples, of course, and you should order more than you think 
you need, especially if you're going the air-dried route.

If you're on a short time-line, this probably won't work for you, but I 
urge every props person to establish a relationship with a local ceramics 
shop (those paint-your-own places, for instance). I've rarely had to pay 
for anything but the clay; most of the time, they're glad to do the job for 
a free ad in the program. Even if you do have to pay, what you save in 
labor time and hassle over making your own is often worth it.

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




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

End of Stagecraft Digest #290
*****************************