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Stagecraft Digest, Issue #299

 1. Cable Clip Torque (was Impact Wrenches)
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
 2. Re: sepia tone/direction of wash
    by kim.hartshorn [at] plattsburgh.edu
 3. Re: sepia tone/direction of wash
    by Stan Jensen <jense1s [at] cmich.edu>
 4. Re: Cable Clip Torque (was Impact Wrenches)
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 5. checking cable clips was:Impact Wrenches
    by Greg Bierly <gbierly [at] dejazzd.com>
 6. Re: checking cable clips was:Impact Wrenches
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 7. Re: third hand
    by "Karl G. Ruling" <kruling [at] esta.org>
 8. Re: impact wrenches
    by "Karl G. Ruling" <kruling [at] esta.org>
 9. Re: checking cable clips was:Impact Wrenches
    by Stephen Litterst <slitterst [at] ithaca.edu>
10. Self Dimming Candelabra
    by Chris Wych <a_small_idiot [at] yahoo.com>
11. Re: checking cable clips was:Impact Wrenches
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
12. Re: third hand
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
13. Re: third hand/tail
    by "Bill Potter" <bpotter [at] choate.edu>
14. Re: checking cable clips was:Impact Wrenches
    by Bill Sapsis <bill [at] sapsis-rigging.com>
15. Re: checking cable clips was:Impact Wrenches
    by Stuart Wheaton <sdwheaton [at] fuse.net>
16. Breaking glass panel effect
    by Mike Katz <mkatz [at] MIT.EDU>
17. Re: Breaking glass panel effect
    by Mark O'Brien <marko [at] email.arizona.edu>
18. Contract negotiations
    by "Scott Boyle" <smboyle [at] cc.edu>
19. Re: Contract negotiations
    by Greg Bierly <gbierly [at] dejazzd.com>
20. Re: Contract negotiations
    by Dale Farmer <dale [at] cybercom.net>
21. Cordless impact driver on cable clips
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
22. Re: Contract negotiations
    by Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
23. Hands or tails
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
24. (OT?) Looking for scripts, rights
    by "Jon Ares" <jonares [at] hevanet.com>
25. Re: Third appendage (slightly OT)
    by Jacqueline Haney Kidwell <jacki14fr [at] yahoo.com>
26. Re: Hands or tails
    by Stephen Litterst <slitterst [at] ithaca.edu>
27. Re: impact wrenches
    by FrankWood95 [at] aol.com
28. Thrid appendage (slightly OT)
    by CB <psyd [at] cox.net>
29. Re: Thrid appendage (slightly OT)
    by CB <psyd [at] cox.net>
30. Re: Self Dimming Candelabra
    by FrankWood95 [at] aol.com
31. Re: checking cable clips was:Impact Wrenches
    by FrankWood95 [at] aol.com
32. Re: checking cable clips was:Impact Wrenches
    by "James, Brian" <bej [at] vt.edu>
33. Re: (OT?) Looking for scripts, rights
    by Dale Farmer <dale [at] cybercom.net>
34. Re: (OT?) Looking for scripts, rights
    by "Elliott Family" <elliott [at] peak.org>
35. Re: checking cable clips was:Impact Wrenches
    by FrankWood95 [at] aol.com
36. Re: Breaking glass panel effect
    by Steve Larson <tiptd [at] theatreinthepark.com>
37. Re: third hand
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
38. Re: third hand
    by Greg Persinger <gregpersin [at] comcast.net>
39. Re: third hand
    by Stephen Litterst <slitterst [at] ithaca.edu>
40. Re: checking cable clips was:Impact Wrenches
    by Bill Sapsis <bill [at] sapsis-rigging.com>
41. Re: Contract negotiations
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
42. Re: checking cable clips was:Impact Wrenches
    by "James, Brian" <bej [at] vt.edu>
43. Re: checking cable clips was:Impact Wrenches
    by Mark O'Brien <marko [at] email.arizona.edu>
44. Re: Contract negotiations
    by "Joshua Webb" <jwebb [at] worcesteracademy.org>
45. Re: Contract negotiations
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
46. props in the academy
    by "David R. Krajec" <drkrajec [at] stritch.edu>
47. Re: props in the academy
    by Stephen Litterst <slitterst [at] ithaca.edu>
48. Re: (OT?) Looking for scripts, rights
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
49. Re: Cable Clip Torque
    by Jared Fortney <jared.fortney [at] gmail.com>
50. Re: props in the academy
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
51. Re: props in the academy
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
52. Re: props in the academy
    by FrankWood95 [at] aol.com
53. Stock Platforms
    by "Rob Carovillano" <rcarovillano [at] verizon.net>
54. Fog Curtain
    by "Rob Carovillano" <rcarovillano [at] verizon.net>
55. Re: Fog Curtain
    by "RODOK!!!" <rodok [at] telus.net>
56. Re: props in the academy
    by Gion DeFrancesco <defranga [at] po.muohio.edu>
57. Re: Sepia Tone
    by "C. Dopher" <brooklyn [at] dopher.com>
58. Re: Costume shop info requested
    by "C. Dopher" <brooklyn [at] dopher.com>
59. Re: Sepia Tone
    by "C. Dopher" <brooklyn [at] dopher.com>
60. Re: Sepia Tone
    by "Joshua Webb" <jwebb [at] worcesteracademy.org>
61. Creating Effects ETC 48/96
    by nancy moeur <nmoeur [at] wso.williams.edu>
62. Re: props in the academy
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
63. Re: Stock Platforms
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
64. Re: props in the academy
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
65. Re: Stock Platforms
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
66. HELP! Colortran Encore 'airflow' light
    by BKHAIN [at] aol.com
67. Re: HELP! Colortran Encore 'airflow' light
    by David Duffy <david [at] audiovisualdevices.com.au>
68. Re: Breaking glass panel effect
    by Stuart Wheaton <sdwheaton [at] fuse.net>
69. Re: checking cable clips 
    by Greg Bierly <gbierly [at] dejazzd.com>
70. Re: (OT?) Looking for scripts, rights
    by "Jon Ares" <jonares [at] hevanet.com>

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

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Subject: Cable Clip Torque (was Impact Wrenches)
Date: Thu, 17 Feb 2005 08:04:11 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAAT89LdSDmkG2tAiMn1CovgEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-18807229 [at] prxy.net>

Dale Farmer asked:

>What is the right amount of torque for the application?
>Are they adjustable to give that level of torque?
>Is the adjustment calibrated to a traceable standard?

The torque will vary depending upon the size of your clips. Assuming you =
are
using 1/4" cable, Crosby recommends 15 Ft. Lbs. Being that I have never =
used
or specified anything other than "red" Crosby cable clips (when not =
using
Nicopress sleeves), I don't know if this holds true with other
manufacturers. So if you're really concerned, track down the clips'
manufacturer and check with them. If you can't find the manufacturer =
(and
I'm sure Mr. Sapsis will agree with me here) you may have to consider
replacing them with hardware that is "traceable".

Yes, a properly sized and calibrated torque wrench should be able to =
apply
this force. Not sure what you're asking with your last question. =
Calibration
should be set to the wrench's manufacturer's standard.

BTW, Crosby also offers this IMPORTANT advice (their emphasis, not mine) =
-
"Apply first load to test the assembly. This load should be of equal or
greater weight than loads expected in use. Next, check and retighten the
nuts to recommended torque." This is because wire rope does stretch =
under
load, and (although we're talking microns here in everyday theatre use) =
will
reduce in diameter. Did the installer do this? In my experience, =
probably
not...  :-(

Unless Unca Bill was on the job...  ;-)

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


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

Message-ID: <1108650892.4214ab8ccab83 [at] webmail.plattsburgh.edu>
Date: Thu, 17 Feb 2005 09:34:52 -0500
From: kim.hartshorn [at] plattsburgh.edu
Subject: re: sepia tone/direction of wash
References: <list-18807229 [at] prxy.net>
In-Reply-To: <list-18807229 [at] prxy.net>

It has been my experience that attempting to do this with a front of stage wash 
will not give you the effect you are looking for.  A sepia toned photograph is 
not like a wash of stage with color...it would almost be an atmospheric effect.

For strong color washes that do not seriously affect costumes and faces i 
personally try to use toplite washes.  Also, i think sepia as a color concept 
is better accomplished through the scenic and costume designs, then the light 
designer can light for the sepia...not create the sepia.

good luck

Kim Hartshorn

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

In-Reply-To: <list-18834821 [at] prxy.net>
References: <list-18807229 [at] prxy.net> <list-18834821 [at] prxy.net>
Message-Id: <85eb1a1e61cd6aca20dc32d74fdec1fb [at] cmich.edu>
From: Stan Jensen <jense1s [at] cmich.edu>
Subject: Re: sepia tone/direction of wash
Date: Thu, 17 Feb 2005 09:59:01 -0500


On Feb 17, 2005, at 9:34 AM, kim.hartshorn [at] plattsburgh.edu wrote:

> ...i think sepia as a color concept
> is better accomplished through the scenic and costume designs, then 
> the light
> designer can light for the sepia...not create the sepia.


Of course, Kim is absolutely correct. If the entire production is to be 
a "sepia concept" then all designers will work toward the effect. A 
color wash is useful to create a moment within an otherwise 
realistically lit show, or--as in what I understood to be Chris's 
case--one short piece in a rep plot.


Stan Jensen

Central Michigan University
Department of Speech Communication and Dramatic Art


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

Date: Thu, 17 Feb 2005 10:15:33 -0500
Subject: Re: Cable Clip Torque (was Impact Wrenches)
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE3A1F44.4591%bill [at] sapsis-rigging.com>
In-Reply-To: <list-18823620 [at] prxy.net>

on 2/17/05 8:04 AM, Scheu Consulting Services at peter [at] scheuconsulting.com
wrote:

> The torque will vary depending upon the size of your clips. Assuming you are
> using 1/4" cable, Crosby recommends 15 Ft. Lbs. Being that I have never used
> or specified anything other than "red" Crosby cable clips (when not using
> Nicopress sleeves), I don't know if this holds true with other
> manufacturers. So if you're really concerned, track down the clips'
> manufacturer and check with them. If you can't find the manufacturer (and
> I'm sure Mr. Sapsis will agree with me here) you may have to consider
> replacing them with hardware that is "traceable".

Agreed.  But....Crosby is not the end all and be all for wire rope clips.
Chicago Hdwr. makes a good drop forged clip also.  Same torque.

> 
> Yes, a properly sized and calibrated torque wrench should be able to apply
> this force. Not sure what you're asking with your last question. Calibration
> should be set to the wrench's manufacturer's standard.

> BTW, Crosby also offers this IMPORTANT advice (their emphasis, not mine) -
> "Apply first load to test the assembly. This load should be of equal or
> greater weight than loads expected in use. Next, check and retighten the
> nuts to recommended torque." This is because wire rope does stretch under
> load, and (although we're talking microns here in everyday theatre use) will
> reduce in diameter. Did the installer do this? In my experience, probably
> not...  :-(
> 
> Unless Unca Bill was on the job...  ;-)

Damn straight!

Did you know that wire rope clips of any type are illegal for overhead
lifting in many European Countries?   Is true.

Bill S.

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

We stand behind, and under, our work.


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

In-Reply-To: <list-18731061 [at] prxy.net>
References: <list-18731061 [at] prxy.net>
Message-Id: <13225548ab736c092c53a4c1e70f7202 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: checking cable clips was:Impact Wrenches
Date: Thu, 17 Feb 2005 10:21:04 -0500

> Should I be double checking all of the terminations?

I would check a few randomly throughout the system.  If they are good 
give it a year and then check the entire system.  If you find ANY that 
aren't tight enough check them all now!

Or just listen to what Bill has to say.

I want to add a question.  I know cable clamp terminations can loosen 
and stretch over the years.  I checked all mine 3 years after 
installation.  Does every 5 years after that sound good (checking every 
connection)?  Would that by typically overkill or not enough.  
Obviously you want to check them if there is any reason for suspicion.


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

Date: Thu, 17 Feb 2005 10:47:23 -0500
Subject: Re: checking cable clips was:Impact Wrenches
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE3A26BA.4598%bill [at] sapsis-rigging.com>
In-Reply-To: <list-18837715 [at] prxy.net>

on 2/17/05 10:21 AM, Greg Bierly at gbierly [at] dejazzd.com wrote:

> I want to add a question.  I know cable clamp terminations can loosen
> and stretch over the years.  I checked all mine 3 years after
> installation.  Does every 5 years after that sound good (checking every
> connection)?  Would that by typically overkill or not enough.
> Obviously you want to check them if there is any reason for suspicion.


No good formula for that, really.  Depends on lots of stuff.  Frequency of
use.  How heavy the loads are.  Type of performances (heavy metal bands get
the building vibrating more than ballet).  Location  (NYC has subways that
rattle buildings and loosen things up)

So it's a site by site "level of comfort" (yours) thing.

Or change them all out to oval
www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.
swage fittings and then you can forget about them forever.


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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Thu, 17 Feb 2005 10:50:00 -0500
Subject: Re: third hand
Reply-to: kruling [at] esta.org
Message-ID: <421476D8.31094.5FA867 [at] localhost>
In-reply-to: <list-18807229 [at] prxy.net>

> 
> Which would be better for a electrician/stagehand to have: a third arm
> & hand OR a prehensile tail (one that can support your weight)? 

The problem with having a third hand is that it would make decision 
processes more lengthy. One would be able to say, "Well, we could do 
this. On the other hand, we could do that. But on the other other 
hand, we could do the other thing." 




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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Thu, 17 Feb 2005 10:50:00 -0500
Subject: Re: impact wrenches
Reply-to: kruling [at] esta.org
Message-ID: <421476D8.22010.5FA8D4 [at] localhost>
In-reply-to: <list-18807229 [at] prxy.net>

> > Do they deliver the right amount of torque, or is the old fashioned
> > =
> torque
> > wrench the way to go?
> 
> Boys with toys.  An impact wrench on a 1/4' wire rope clip?  Give me a
> = good old fashioned torque wrench any day.

Impact wrenches are great for undoing things. They won't tighten to a 
specified torque setting. You can fiddle with some to make them bash 
a nut on hard or not so hard, but there is no real torque setting on 
any I have seen, so they can't be used to tighten something just the 
right amount.  

OT: I paid my graduate school bills by working as an automobile 
mechanic. The shop I worked in was one of the few shops in town to 
use torque wrenches on everything that had a torque specification.  
While I appreciated the speed of impact wrenches, I was often 
bothered by how much they'll overtighten fasteners. Lug nuts are a 
common case in point. There's a torque spec for them, and if you go 
over it you weaken the stud or damage the wheel. You can also make it 
impossible to change a flat tire by hand.   


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

Date: Thu, 17 Feb 2005 10:50:04 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: checking cable clips was:Impact Wrenches
Message-id: <4214BD2C.7D37299E [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-18731061 [at] prxy.net> <list-18837715 [at] prxy.net>

Greg Bierly wrote:
> ---------------------------------------------------
> I want to add a question.  I know cable clamp terminations can loosen
> and stretch over the years.  I checked all mine 3 years after
> installation.  Does every 5 years after that sound good (checking every
> connection)?  Would that by typically overkill or not enough.

I'm sure Bill will weigh in on this but just to kick off discussion. 

It depends on how heavily you use your fly system.  If you're
frequently putting heavy loads on battens, then you might want to
check the terminations yearly.  If you have a standard line schedule
that doesn't deviate too much, you could do it every other year. 
Every five years seems to be not enough.  We used to check ours only
when Bill came for inspection (about every five years) and this past
inspection we had several that were surprisingly loose.   Now I check
them by hand any time I can reach them, and check them by wrench every
other year.

Steve Litterst

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

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

Message-ID: <20050217155706.41245.qmail [at] web40711.mail.yahoo.com>
Date: Thu, 17 Feb 2005 07:57:06 -0800 (PST)
From: Chris Wych <a_small_idiot [at] yahoo.com>
Subject: Self Dimming Candelabra

Im trying to find a scematic for a self dimming candle
circuit.  The goal is to have the lights to be battery
operated and to go out when the stage lights go out. 
There can be no wires running to the candelabra since
they are carried on.  They are also floor standing
candelabras.  The designer wants them to go out when
the lights dim but i think that would be much harder
then to have them dim with a photo cell as the stage
lights dim to a blackout.  I have one scematic that
uses two photo cells so that there is less error of it
mistakenly gout out with a shadow.  I can post the
scematic I have later.  Anyone have any suggestions? 
The cheaper the better since the show is a college
show with a very small budget.

Thanks for the help in advance.

Chris Wych

=====
IL State U. Theatre Design Student
a_small_idiot [at] yahoo.com
~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~
http://www.theatretechie.com
~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~



		
__________________________________ 
Do you Yahoo!? 
Yahoo! Mail - 250MB free storage. Do more. Manage less. 
http://info.mail.yahoo.com/mail_250

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: checking cable clips was:Impact Wrenches
Date: Thu, 17 Feb 2005 10:57:05 -0500
Message-ID: <032501c51509$57372d50$6401a8c0 [at] Dell>
In-Reply-To: <list-18840489 [at] prxy.net>

 
> It depends on how heavily you use your fly system.  If you're 
> frequently putting heavy loads on battens, then you might 
> want to check the terminations yearly.

Unless I'm missing something, you can't hurt anything by checking too
frequently, so there's really no such thing as overkill.



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

Subject: RE: third hand
Date: Thu, 17 Feb 2005 11:07:34 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C726 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
Cc: kruling [at] esta.org

> The problem with having a third hand is that it would make decision=20
> processes more lengthy. One would be able to say, "Well, we could do=20
> this. On the other hand, we could do that. But on the other other=20
> hand, we could do the other thing."=20

I do this already, and I only have the typical number of appendages...

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

Message-id: <fc.005b8f01039292e93b9aca00f4997d2c.3929310 [at] FirstClass.choate.edu>
Date: Thu, 17 Feb 2005 11:10:01 -0500
Subject: Re: third hand/tail
From: "Bill Potter" <bpotter [at] choate.edu>
References: <list-18842036 [at] prxy.net>
In-Reply-To: <list-18842036 [at] prxy.net>

<=21DOCTYPE HTML PUBLIC =22-//W3C//DTD HTML 4.0 Transitional//EN=22>
<html><head><meta http-equiv=3D=22Content-Type=22 content=3D=22text/html; c=
harset=3DISO-8859-1=22>
<style type=3D=22text/css=22>body=7Bmargin-left:10px;margin-right:10px;marg=
in-top:0px;margin-bottom:0px;=7D</style>
</head>
<body marginleft=3D=2210=22 marginright=3D=2210=22 margintop=3D=220=22 marg=
inbottom=3D=220=22>
<font face=3D=22Geneva=22 size=3D=22+0=22 color=3D=22=23000000=22 style=3D=
=22font-family:Geneva;font-size:12pt;color:=23000000;=22>My tech theater st=
udents have decided that a prehensile tail with a hand on the end of it wou=
ld be best... or wings=21 or a jet pack=21=21=21<br>
<br>
Bill Potter, Technical Director<br>
Paul Mellon Arts Center, Choate Rosemary Hall<br>
Wallingford CT<br>
<a href=3D=22mailto:bpotter=40choate.edu=22>bpotter=40choate.edu</a>&nbsp;2=
03-697-2189</font>
</body></html>

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

Date: Thu, 17 Feb 2005 11:15:15 -0500
Subject: Re: checking cable clips was:Impact Wrenches
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE3A2D43.45A7%bill [at] sapsis-rigging.com>
In-Reply-To: <list-18840015 [at] prxy.net>

on 2/17/05 10:47 AM, Bill Sapsis at bill [at] sapsis-rigging.com wrote:

> Or change them all out to oval



hmmmm.  seems I drops a line there.  What I was trying to say was that you
might want to change your clips out to oval swage fittings and then you can
forget about them, forever.  Assuming you put them on correctly, of course.

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

We stand behind, and under, our work.


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

Message-ID: <4214C462.3020304 [at] fuse.net>
Date: Thu, 17 Feb 2005 11:20:50 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: checking cable clips was:Impact Wrenches
References: <list-18731061 [at] prxy.net> <list-18837715 [at] prxy.net>
In-Reply-To: <list-18837715 [at] prxy.net>

Greg Bierly wrote:

> I want to add a question.  I know cable clamp terminations can loosen 
> and stretch over the years.  I checked all mine 3 years after 
> installation. 

The result of this test should help guide your future 
testing...  If the overwhelming majority were at spec after 
three years, then you know the general environment does not 
rattle them loose.  If, on the other hand, half of them were 
loose, you might need to check every year.

Perhaps a yearly check of those clips carrying extreme 
loads, like ceilings, permanent electrics, and travellers. 
And then a pre-check / re-torqueing of any pipe that is very 
heavily loaded for the show.  And lastly, an overall check 
as often as experience dictates.

I have a few questions of my own...

I believe that torque can only be accurately measured in a 
moving system, so you may need to loosen the nut to get an 
accurate torque.  I do not believe you can just slap a 
wrench on a bolt and see if the torque is reached before the 
bolt turns. Am I correct?

Can crosby provide a locking type nut?  If you put another 
nut on the U-bolt as a jam nut, would it help keep the clip 
from loosening, or is the real problem based on wire 
stretching and wire diameter 'shrinkage'?

Stuart



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

Message-Id: <p0610050bbe3a700affbb [at] [18.22.0.76]>
Date: Thu, 17 Feb 2005 11:17:15 -0500
From: Mike Katz <mkatz [at] MIT.EDU>
Subject: Breaking glass panel effect

Good morning all,
We are in preliminary discussions on a spring production that the 
director has a wonderful vision for.  He would like to shatter a 4' x 
8' "plate glass" window nightly.   It will be a great look for the 
show and we would love to do it if we can.  My first  step was to go 
to  SmoothOn.com to look for plastic glass resins and sure enough 
they have Smash resin to do it.  So now I have some questions ,  It 
will take about 2 1/2 gallons to cast a 4' x 8'  x 1/8" sheet which 
will cost in the vicinity of $200/ rehearsal and performance. Can any 
one think of a less expensive alternative?  has any one out there 
Used "Smash" to cast breakable windows of any size?  How was working 
with the stuff?  I am aware of the health and ventilation issues 
which are considerable and If we go this route we will take all the 
necessary precautions .
TIA for all your Ideas
Mike
-- 

Mike Katz
Technical Director
MIT Theater Arts
Rinaldi Tile Building
77 Mass Ave E33-101
Cambridge MA 02139
617.253.0824
mkatz [at] mit.edu
		"Lunacy Abounds"

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

In-Reply-To: <list-18843212 [at] prxy.net>
References: <list-18843212 [at] prxy.net>
Message-Id: <c86ab023c001cb940c2ab0ce8216e858 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Breaking glass panel effect
Date: Thu, 17 Feb 2005 09:39:00 -0700

I just worked on some corporate job at a hotel,  and what they used was 
a 3' x 8' tempered glass piece.  It was hung, as to have about a foot 
sticking above the frame, hidden from view. They had a solenoid plunger 
to strike the glass on cue. The whole thing then shattered into a pile 
of glass crumbles, onto the the floor.

At first, I thought it was a bit ho-key, (WTF? was my first reaction) 
but it seemed to work, and to be safe. It did seem like a PITA, but it 
looks easier than casting something.


Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


On Feb 17, 2005, at 9:17 AM, Mike Katz wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Good morning all,
> We are in preliminary discussions on a spring production that the 
> director has a wonderful vision for.  He would like to shatter a 4' x 
> 8' "plate glass" window nightly.   It will be a great look for the 
> show and we would love to do it if we can.  My first  step was to go 
> to  SmoothOn.com to look for plastic glass resins and sure enough they 
> have Smash resin to do it.  So now I have some questions ,  It will 
> take about 2 1/2 gallons to cast a 4' x 8'  x 1/8" sheet which will 
> cost in the vicinity of $200/ rehearsal and performance. Can any one 
> think of a less expensive alternative?  has any one out there Used 
> "Smash" to cast breakable windows of any size?  How was working with 
> the stuff?  I am aware of the health and ventilation issues which are 
> considerable and If we go this route we will take all the necessary 
> precautions .
> TIA for all your Ideas
> Mike
> -- 
>
> Mike Katz
> Technical Director
> MIT Theater Arts
> Rinaldi Tile Building
> 77 Mass Ave E33-101
> Cambridge MA 02139
> 617.253.0824
> mkatz [at] mit.edu
> 		"Lunacy Abounds"


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

Reply-To: <smboyle [at] cc.edu>
From: "Scott Boyle" <smboyle [at] cc.edu>
Subject: Contract negotiations
Date: Thu, 17 Feb 2005 10:42:49 -0600
Organization: Carroll College
Message-ID: <000001c5150f$b77d6bb0$73db688c [at] cc.edu>

Hello all,

I am looking for some advice from my academic colleagues.  I am a
full-time non-tenure track professor at a small liberal arts college.
When I was first hired my position as Technical Director was considered
a staff position since my main responsibility was running the theatre
spaces and working on the shows.  As the years passed the administration
has slowly added more teaching, design and committee work to my job
description while not giving me additional compensation.  Sound familiar
to anyone? ;-)

So now I find myself in a precarious position of feeling I need to ask
for a raise and not really sure how to do it.  I've heard some of you in
similar positions talk about educating your administrators about the
amount of work you do.  What methods did you use and how effective were
they? 

Given this climate of pay freezes which seems to be running rampant
through a lot of small colleges, I'm not sure how effective I will be.
I just have to try.  You can contact me on or off list.  

TIA

Scott M. Boyle
Technical Director
Department of Theatre Arts
Carroll College
262-524-7308



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

In-Reply-To: <list-18845444 [at] prxy.net>
References: <list-18845444 [at] prxy.net>
Message-Id: <b7687cc27e05e2868567398a5a684a47 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Contract negotiations
Date: Thu, 17 Feb 2005 12:03:58 -0500

> I've heard some of you in
> similar positions talk about educating your administrators about the
> amount of work you do.  What methods did you use and how effective were
> they?

I was fortunate enough to get another semi serious job offer a while 
back.  I was not too interested in leaving but i did use it to my 
advantage to ask for additional help.  They said there was not much 
more they could do other than raise my pay.  Not exactly what I was 
looking for but it helped.

Greg Bierly


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

Message-ID: <4214D097.ED45BF95 [at] cybercom.net>
Date: Thu, 17 Feb 2005 12:12:55 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Contract negotiations
References: <list-18845444 [at] prxy.net>



Scott Boyle wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hello all,
>
> I am looking for some advice from my academic colleagues.  I am a
> full-time non-tenure track professor at a small liberal arts college.
> When I was first hired my position as Technical Director was considered
> a staff position since my main responsibility was running the theatre
> spaces and working on the shows.  As the years passed the administration
> has slowly added more teaching, design and committee work to my job
> description while not giving me additional compensation.  Sound familiar
> to anyone? ;-)
>
> So now I find myself in a precarious position of feeling I need to ask
> for a raise and not really sure how to do it.  I've heard some of you in
> similar positions talk about educating your administrators about the
> amount of work you do.  What methods did you use and how effective were
> they?
>
> Given this climate of pay freezes which seems to be running rampant
> through a lot of small colleges, I'm not sure how effective I will be.
> I just have to try.  You can contact me on or off list.

    Go and look at the professors on tenure track that have comparable
experience and teaching loads.  If you land in the same ballpark as them,
then you have some ammunition to go to the PTB.  If the professors are
unionized in some fashion, going to that union agent may also prove
useful.  Good luck, it's going to be a steep uphill battle.

    --Dale


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

Date: Thu, 17 Feb 2005 12:17:42 -0500
Subject: Cordless impact driver on cable clips
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <BE3A3BE6.8E8%jdougher [at] middlebury.edu>

Although Bill put it gently, let me say loudly not to do this.  They are
rated, without controllable adjustment, at about 100 foot pounds of torque.
I've sheared 1/4" lags with a 12V version without trying too hard.  If you
have to mechanize the process, a cordless drill with the clutch set at it's
lowest setting will spin the nuts on just until they touch, then you can
just do the final tightening with a torque wrench the way you're supposed
to.  Not just for safety, but also to save the hassle of removing the one
clip that shears in such a way that you can't get it off to replace it.

For everyday driving of screws, etc., they're fabulous tools though.
Although you can get drill bits that fit the chuck, they are not good
drills.  Yeah, I likes the toys :).

-  Jim Dougherty
ATD, Middlebury College.



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

In-Reply-To: <list-18848031 [at] prxy.net>
Subject: Re: Contract negotiations
Message-ID: <OF28F0AF71.A37BA925-ON85256FAB.005E9B52-85256FAB.005F2EDD [at] uncg.edu>
From: Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
Date: Thu, 17 Feb 2005 12:19:39 -0500

Good luck!!!

My thoughts have been it's always easier to get a pay raise when you have 
another job offer in hand or close to in hand.  Every University/College 
that I've moved on from has always come up with the extra money to match 
offers and to tempt me to stay.  It's kind of sad that it takes looking 
for another job to get the hopes of a significant pay raise.  My 
frustration in my last couple TD positions is the fact that since I'm 
contract and not tenure track, there's no hope of promotion  (Asst Prof to 
Assoc Prof, etc).  So those potential pay raises aren't available either. 
Don't get me started about the differences between PhD and MFA salaries. 
Why don't salary scales in Universities reflect that the MFA is a terminal 
degree?  I get tired of being lumped in with the folks with MAs in 
English, History, etc.  I've got the recognized terminal degree for my 
field, I don't need nor want a Phd!!!  Oh well, I guess I should have gone 
into Engineering like I first thougt I would, but then I would probably 
have to wear a tie to work, so never mind.
 
Chip Haas
Technical Director
Department of Theatre
The University of North Carolina at Greensboro

336-334-3891

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

Date: Thu, 17 Feb 2005 12:24:13 -0500
Subject: Hands or tails
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <BE3A3D6D.8EA%jdougher [at] middlebury.edu>

Hats off to Stuart Wheaton for beating me to the Larry Niven reference.

I would think keeping it symmetrical with two extra limbs would be nicer
than one, but the tail might be more feasible as there are critters awfully
genetically close to us to take the transplant from or to use for the gene
splicing.  Build your pants with a fly front and back and you should be set.

What about a nose extension like an elephant's trunk?  Then, you don't need
to hold your beer, you can leave it right on the bar.

Let us know how it turns out, in any case.

-  Jim Dougherty
ATD, Middlebury College



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

Message-ID: <001401c51517$7879da90$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-18129058 [at] prxy.net>
Subject: (OT?) Looking for scripts, rights
Date: Thu, 17 Feb 2005 09:38:19 -0800

Have a couple of research/resource questions for the Collected Wisdom....

I've got a student who would like to make a short film based on one of Ray 
Bradbury's short stories (from 1957) - does anyone know who represents the 
collected works?  (I have discovered that the cable series "Ray Bradbury 
Theater" did a version of this story in '92, but none of us have seen it.) 
Richard, do you know who reps this stuff?

Second: I'm considering, for next season or later, mounting a production of 
the Faust tale.  I prefer Marlowe's Dr. Faustus, but I would like a 
massively trimmed down version of that.  I would also consider reading a 
re-worked version of Goethe's 2-volume piece, as long as it too was shorter. 
I've read lots of shows that are interpretations of the theme (such as 
Vaclav Havel's Temptation), but I'd really like to do a version of one of 
the 'classic' texts.  Has anyone done a production of this?  Know an author 
who has trimmed down the show?

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


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

Message-ID: <20050217174812.62835.qmail [at] web52005.mail.yahoo.com>
Date: Thu, 17 Feb 2005 09:48:11 -0800 (PST)
From: Jacqueline Haney Kidwell <jacki14fr [at] yahoo.com>
Subject: Re: Third appendage (slightly OT)
In-Reply-To: <list-18646687 [at] prxy.net>

I'd be more interested in the extra hand.  I think it
would be useful more often than the prehensile tail. 
(Ever had to give a pill to a cat?)

       --Jacki


		
__________________________________ 
Do you Yahoo!? 
Yahoo! Mail - Find what you need with new enhanced search.
http://info.mail.yahoo.com/mail_250

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

Date: Thu, 17 Feb 2005 12:50:13 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Hands or tails
Message-id: <4214D955.DA2BC864 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-18848953 [at] prxy.net>

"Dougherty, Jim" wrote:
> ---------------------------------------------------
> What about a nose extension like an elephant's trunk?  Then, you don't need
> to hold your beer, you can leave it right on the bar.

Ugh.  Drinking when I've got a cold is unpleasant with my current
nose.  Scotch and mucus just weren't meant as mixers.

Steve L.

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

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

From: FrankWood95 [at] aol.com
Message-ID: <1a7.31b72f84.2f463601 [at] aol.com>
Date: Thu, 17 Feb 2005 13:01:37 EST
Subject: Re: impact wrenches

In a message dated 17/02/05 15:50:49 GMT Standard Time, kruling [at] esta.org 
writes:

> OT: I paid my graduate school bills by working as an automobile 
>  mechanic. The shop I worked in was one of the few shops in town to 
>  use torque wrenches on everything that had a torque specification.  
>  While I appreciated the speed of impact wrenches, I was often 
>  bothered by how much they'll overtighten fasteners. Lug nuts are a 
>  common case in point. There's a torque spec for them, and if you go 
>  over it you weaken the stud or damage the wheel. You can also make it 
>  impossible to change a flat tire by hand.  

Too right! The tyre shop I use runs the nuts or bolts up with a pneumatic 
impact wrench, and then goes round again with a torque wrench.

You used to be able to get manual impact wrenches, with a standard 1/2" 
drive. These were very good for shifting really stubborn nuts. They were driven by 
a big hammer.


Frank Wood

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

Message-Id: <3.0.6.32.20050217111702.016de870 [at] pop.west.cox.net>
Date: Thu, 17 Feb 2005 11:17:02
From: CB <psyd [at] cox.net>
Subject: Thrid appendage (slightly OT)

>Which would be better for a electrician/stagehand to have: a third arm &
hand OR a prehensile tail 

The third arm.  I have been saying the last ten years that the three-armed
tech will take over the world.  Its as good as a prehensile tail, (it can
support your weight as well) and it has a hand at the end of it.  There is
also the added advantage that it doesn't come out of your butt like a
tail...
				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...


-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005


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

Message-Id: <3.0.6.32.20050217112606.016de870 [at] pop.west.cox.net>
Date: Thu, 17 Feb 2005 11:26:06
From: CB <psyd [at] cox.net>
Subject: RE: Thrid appendage (slightly OT)

> since it wouldn't mess with the symmetry.

*Sigh*... theatre people... Symmetry is over-rated

>If you do decide to go the third-arm route, why not go all the way and
>have a spare head attached and call yourself Zaphod?

It been done to death...  ; >
				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...


-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 2/14/2005


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

From: FrankWood95 [at] aol.com
Message-ID: <76.4d22304b.2f463ada [at] aol.com>
Date: Thu, 17 Feb 2005 13:22:18 EST
Subject: Re: Self Dimming Candelabra

In a message dated 17/02/05 15:57:51 GMT Standard Time, 
a_small_idiot [at] yahoo.com writes:

> Im trying to find a scematic for a self dimming candle
>  circuit.  The goal is to have the lights to be battery
>  operated and to go out when the stage lights go out. 
>  There can be no wires running to the candelabra since
>  they are carried on.  They are also floor standing
>  candelabras.  The designer wants them to go out when
>  the lights dim but i think that would be much harder
>  then to have them dim with a photo cell as the stage
>  lights dim to a blackout.  I have one scematic that
>  uses two photo cells so that there is less error of it
>  mistakenly gout out with a shadow.  I can post the
>  scematic I have later.  Anyone have any suggestions? 
>  The cheaper the better since the show is a college
>  show with a very small budget.

I've done this with a lantern, which was carried on to the stage, and hung on 
a hook. The hook and the lantern ring had simple connectors, just bare wires. 
When the lantern found the power supply from the hook, it disconnected the 
internal battery permanently, and ran from the external supply, so as that was 
dimmed, so was the lantern.

The problem you will have, if you go down this road, is in arranging the pick 
up from the external supply. It will need very precise positioning of the 
props when they are set. Actors are seldom good at that, and I think that having 
them react to the stage lighting may well be more reliable.

The circuit itself is simple, and you are to be praised for trying to do it 
yourself rather than looking for some commercial piece of gear. Surely, in a 
college, you can find an electronics expert.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <1e4.352d3ef0.2f463dc4 [at] aol.com>
Date: Thu, 17 Feb 2005 13:34:44 EST
Subject: Re: checking cable clips was:Impact Wrenches

In a message dated 17/02/05 16:14:30 GMT Standard Time, sdwheaton [at] fuse.net 
writes:

> I believe that torque can only be accurately measured in a 
>  moving system, so you may need to loosen the nut to get an 
>  accurate torque.  I do not believe you can just slap a 
>  wrench on a bolt and see if the torque is reached before the 
>  bolt turns. Am I correct?

I think you are wrong. Torque is a measure of turning effort, in pounds-feet, 
or kilogram-metres. Force multiplied by distance. If I put my whole weight on 
the end of a one metre wrench, I shall be causing a torque of 70 Kg-m. Of 
course, I can exert more force than that implies. But, I have still had immovable 
wheel nuts.


Frank Wood

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

Subject: RE: checking cable clips was:Impact Wrenches
Date: Thu, 17 Feb 2005 13:41:51 -0500
Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B182 [at] fangorn.cc.vt.edu>
From: "James, Brian" <bej [at] vt.edu>

Does any body know of a "when in doubt" torque chart that exists?


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Stuart
Wheaton
Sent: Thursday, February 17, 2005 11:21 AM
To: Stagecraft
Subject: Re: checking cable clips was:Impact Wrenches


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

Greg Bierly wrote:

> I want to add a question.  I know cable clamp terminations can loosen=20
> and stretch over the years.  I checked all mine 3 years after=20
> installation.=20

The result of this test should help guide your future=20
testing...  If the overwhelming majority were at spec after=20
three years, then you know the general environment does not=20
rattle them loose.  If, on the other hand, half of them were=20
loose, you might need to check every year.

Perhaps a yearly check of those clips carrying extreme=20
loads, like ceilings, permanent electrics, and travellers.=20
And then a pre-check / re-torqueing of any pipe that is very=20
heavily loaded for the show.  And lastly, an overall check=20
as often as experience dictates.

I have a few questions of my own...

I believe that torque can only be accurately measured in a=20
moving system, so you may need to loosen the nut to get an=20
accurate torque.  I do not believe you can just slap a=20
wrench on a bolt and see if the torque is reached before the=20
bolt turns. Am I correct?

Can crosby provide a locking type nut?  If you put another=20
nut on the U-bolt as a jam nut, would it help keep the clip=20
from loosening, or is the real problem based on wire=20
stretching and wire diameter 'shrinkage'?

Stuart



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

Message-ID: <4214E67A.5742D925 [at] cybercom.net>
Date: Thu, 17 Feb 2005 13:46:18 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: (OT?) Looking for scripts, rights
References: <list-18129058 [at] prxy.net> <list-18850336 [at] prxy.net>



Jon Ares wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Have a couple of research/resource questions for the Collected Wisdom....
>
> I've got a student who would like to make a short film based on one of Ray
> Bradbury's short stories (from 1957) - does anyone know who represents the
> collected works?  (I have discovered that the cable series "Ray Bradbury
> Theater" did a version of this story in '92, but none of us have seen it.)
> Richard, do you know who reps this stuff?
>
> Second: I'm considering, for next season or later, mounting a production of
> the Faust tale.  I prefer Marlowe's Dr. Faustus, but I would like a
> massively trimmed down version of that.  I would also consider reading a
> re-worked version of Goethe's 2-volume piece, as long as it too was shorter.
> I've read lots of shows that are interpretations of the theme (such as
> Vaclav Havel's Temptation), but I'd really like to do a version of one of
> the 'classic' texts.  Has anyone done a production of this?  Know an author
> who has trimmed down the show?

  The science fiction writers association has a web site with member info.
If he isn't listed there, let me know I probably know or know someone
who knows his agent.

    --Dale


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

Message-Id: <200502171850.j1HIoAiY036170 [at] a.mail.peak.org>
From: "Elliott Family" <elliott [at] peak.org>
Subject: RE: (OT?) Looking for scripts, rights
Date: Thu, 17 Feb 2005 10:50:02 -0800
In-Reply-To: <list-18850336 [at] prxy.net>

Jon: 

FIRST, DR. FAUSTUS:
	The complete works of Marlowe are available online here:
http://www.perseus.tufts.edu/Texts/Marlowe.html. I mention this because, as
an electronic text, you could more easily do the editing yourself, if you
need to. 
	Interestingly, the Faust page (above) shows that there are different
version available to peruse:

	There are two versions: 1604 and 1616
	These can be viewed as: original text, or in a modernization 
	Or, in comparison with original & modernization side-by-side

	There is also: The English Faust Book, original (one of Marlowe's
main sources, it says).


	And, just because I found it amusing, there is a PDF showing that
the Center for Puppetry Arts has done a production called Live Faust, Die
Young! http://www.puppet.org/pdf/faustguide.pdf This PDF also lists the
following 
	http://www.pitt.edu/~dash/faust.html An online database of Faust
legends from Europe.
	http://www.faust.cc/ Goethe's Faust as a rock opera.
	http://ourworld.compuserve.com/homepages/har/faust.htm Notes on the
musical work La Damnation de Faust by Berlioz.
	http://titus.ispec.net/faust.html View Rembrandt's 1652 etching of
Faust.
	http://turn.to/goethe/ The collected works of Goethe online.
	http://www.npr.org/programs/attheopera/archives/010120.ato.html
National Public Radio's "At the Opera" page for Doktor Faust by Ferruccio
Busoni.



SECOND, RAY BRADBURY'S AGENT:
	I CAN tell you (because I called them minutes ago seeking another
writer's agent) that William Morris Agency is NOT his agent.

Places you can easily try:
	Writers Guild of America: Membership Representation (323) 782-4502
	Or, Membership (323) 782-4532

	International Creative Management: 212 556-5600



Warmest regards,
 
John Elliott
Albany Civic Theater
 
Yahoo IM handle: Ymir200000000
ICQ #: 250285021




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-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon Ares
Sent: Thursday, February 17, 2005 9:38 AM
To: Stagecraft
Subject: (OT?) Looking for scripts, rights

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

Have a couple of research/resource questions for the Collected Wisdom....

I've got a student who would like to make a short film based on one of Ray 
Bradbury's short stories (from 1957) - does anyone know who represents the 
collected works?  (I have discovered that the cable series "Ray Bradbury 
Theater" did a version of this story in '92, but none of us have seen it.) 
Richard, do you know who reps this stuff?

Second: I'm considering, for next season or later, mounting a production of 
the Faust tale.  I prefer Marlowe's Dr. Faustus, but I would like a 
massively trimmed down version of that.  I would also consider reading a 
re-worked version of Goethe's 2-volume piece, as long as it too was shorter.

I've read lots of shows that are interpretations of the theme (such as 
Vaclav Havel's Temptation), but I'd really like to do a version of one of 
the 'classic' texts.  Has anyone done a production of this?  Know an author 
who has trimmed down the show?

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




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

From: FrankWood95 [at] aol.com
Message-ID: <15a.4a9f3b69.2f4641ba [at] aol.com>
Date: Thu, 17 Feb 2005 13:51:38 EST
Subject: Re: checking cable clips was:Impact Wrenches

In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu writes:

> Does any body know of a "when in doubt" torque chart that exists?

If you know the composition and properties of the materials in question, you 
can work it all out. That is what the manufacturers do.

Otherwise, as a rule of thumb, do them up tight with a normal sized wrench. 
Gorillas apart, and we all have met some, this should be reasonably safe. It 
should stress neither the cable nor the clamp beyond its limits.


Frank Wood

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

Date: Thu, 17 Feb 2005 13:52:12 -0500
Subject: Re: Breaking glass panel effect
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE3A520C.3A95%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-18843212 [at] prxy.net>

Dude, you have a better budget that I have if
you can even think about spending that kind of money.

How about breaking it up with multiple panes.

I once cooked up some peanut brittle without
the peanuts and used as glass panes.  Quite
easy and not that expensive.  Hardest part
was the release agent and getting it out
of the mold.

Steve

> From: Mike Katz <mkatz [at] MIT.EDU>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Thu, 17 Feb 2005 11:17:15 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Breaking glass panel effect
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Good morning all,
> We are in preliminary discussions on a spring production that the
> director has a wonderful vision for.  He would like to shatter a 4' x
> 8' "plate glass" window nightly.   It will be a great look for the
> show and we would love to do it if we can.  My first  step was to go
> to  SmoothOn.com to look for plastic glass resins and sure enough
> they have Smash resin to do it.  So now I have some questions ,  It
> will take about 2 1/2 gallons to cast a 4' x 8'  x 1/8" sheet which
> will cost in the vicinity of $200/ rehearsal and performance. Can any
> one think of a less expensive alternative?  has any one out there
> Used "Smash" to cast breakable windows of any size?  How was working
> with the stuff?  I am aware of the health and ventilation issues
> which are considerable and If we go this route we will take all the
> necessary precautions .
> TIA for all your Ideas
> Mike
> -- 
> 
> Mike Katz
> Technical Director
> MIT Theater Arts
> Rinaldi Tile Building
> 77 Mass Ave E33-101
> Cambridge MA 02139
> 617.253.0824
> mkatz [at] mit.edu
> "Lunacy Abounds"
> 
> 


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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA979593 [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: third hand
Date: Thu, 17 Feb 2005 14:11:33 -0500

Think of the problems when buy gloves!

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
 

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

Date: Thu, 17 Feb 2005 13:24:52 -0600
Subject: Re: third hand
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE3A4BA4.9EA1%gregpersin [at] comcast.net>
In-Reply-To: <list-18859558 [at] prxy.net>

> Think of the problems when buy gloves!

Introducing Setwear's new third hand stagehand glove. For those situations
when two gloves just aren't enough.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com




 


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

Date: Thu, 17 Feb 2005 14:25:48 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: third hand
Message-id: <4214EFBC.6C26C1B1 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-18859558 [at] prxy.net>

"Waxler, Steve (waxlers)" wrote:
> ---------------------------------------------------
> Think of the problems when buy gloves!

We're a small family in this industry.  There would just be a surge of
posts to the list asking if anyone has a spare right glove or offering
to split the costs of gloves with someone who has the complementary
extra hand.

Steve LItterst

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

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

Date: Thu, 17 Feb 2005 15:06:40 -0500
Subject: Re: checking cable clips was:Impact Wrenches
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE3A6380.45E0%bill [at] sapsis-rigging.com>
In-Reply-To: <list-18857778 [at] prxy.net>

on 2/17/05 1:51 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu writes:
> 
>> Does any body know of a "when in doubt" torque chart that exists?
> 


1/8" clip               4.5 ft lbs
3/16" clip              7.5
1/4"  clip              15.0
5/16" clip              30.0
3/8" clip               45.0
7/16 clip               65

bigger than that and it ain't scenery anymore.

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

We stand behind, and under, our work.


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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA9795DB [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Contract negotiations
Date: Thu, 17 Feb 2005 15:12:17 -0500

Many universities do recognize the MFA as a terminal degree (it sounds so
deadly) if the granting institution considers it a terminal degree.  You can
request an equity study.  This is something that you, personnel and your
department chair participate in.  You can help the most by finding
institutions similar to the one that you are at and finding out what they
are paying for work similar to what you do.   There should also be a stated
salary range for each academic rank at the University.  Part of your equity
study should be to see what rank your peers are at, at these different
schools.  Good luck.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Christopher Haas CEHAAS [mailto:CEHAAS [at] uncg.edu] 
Sent: Thursday, February 17, 2005 12:20 PM
To: Stagecraft
Subject: Re: Contract negotiations

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

Good luck!!!

My thoughts have been it's always easier to get a pay raise when you have 
another job offer in hand or close to in hand.  Every University/College 
that I've moved on from has always come up with the extra money to match 
offers and to tempt me to stay.  It's kind of sad that it takes looking 
for another job to get the hopes of a significant pay raise.  My 
frustration in my last couple TD positions is the fact that since I'm 
contract and not tenure track, there's no hope of promotion  (Asst Prof to 
Assoc Prof, etc).  So those potential pay raises aren't available either. 
Don't get me started about the differences between PhD and MFA salaries. 
Why don't salary scales in Universities reflect that the MFA is a terminal 
degree?  I get tired of being lumped in with the folks with MAs in 
English, History, etc.  I've got the recognized terminal degree for my 
field, I don't need nor want a Phd!!!  Oh well, I guess I should have gone 
into Engineering like I first thougt I would, but then I would probably 
have to wear a tie to work, so never mind.
 
Chip Haas
Technical Director
Department of Theatre
The University of North Carolina at Greensboro

336-334-3891

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

Subject: RE: checking cable clips was:Impact Wrenches
Date: Thu, 17 Feb 2005 15:18:20 -0500
Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C09F9B185 [at] fangorn.cc.vt.edu>
From: "James, Brian" <bej [at] vt.edu>

Thank you Bill.
Your too good to us!


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Bill
Sapsis
Sent: Thursday, February 17, 2005 3:07 PM
To: Stagecraft
Subject: Re: checking cable clips was:Impact Wrenches


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

on 2/17/05 1:51 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see =
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu =
writes:
>=20
>> Does any body know of a "when in doubt" torque chart that exists?
>=20


1/8" clip               4.5 ft lbs
3/16" clip              7.5
1/4"  clip              15.0
5/16" clip              30.0
3/8" clip               45.0
7/16 clip               65

bigger than that and it ain't scenery anymore.

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

We stand behind, and under, our work.


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

In-Reply-To: <list-18863678 [at] prxy.net>
References: <list-18863678 [at] prxy.net>
Message-Id: <06fd571a642bae6af669784640d10cd1 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: checking cable clips was:Impact Wrenches
Date: Thu, 17 Feb 2005 13:21:57 -0700


Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile

REVISED REVISED REVISED!

On Feb 17, 2005, at 1:06 PM, Bill Sapsis wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> on 2/17/05 1:51 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote:
>
>> For info, archives & UNSUBSCRIBE, see 
>> <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> In a message dated 17/02/05 18:42:35 GMT Standard Time, bej [at] vt.edu 
>> writes:
>>
>>> Does any body know of a "when in doubt" torque chart that exists?
>>
>
>
> 1/8" clip               4.5 ft lbs
> 3/16" clip              7.5
> 1/4"  clip              15.0
>

Bigger than THIS  and it ain't scenery anymore!

My Opinion...


> 5/16" clip              30.0
> 3/8" clip               45.0
> 7/16 clip               65
>
> bigger than that and it ain't scenery anymore.
>
> Bill S.
> www.sapsis-rigging.com
> 800.727.7471
> 800.292.3851  fax
> 267.278.4561  mobile
>
> We stand behind, and under, our work.
>


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

Message-id: <fc.00757e4300fd042b3b9aca00256024c6.fd0446 [at] worcesteracademy.org>
Date: Thu, 17 Feb 2005 15:24:06 -0500
Subject: Re: Contract negotiations
From: "Joshua Webb" <jwebb [at] worcesteracademy.org>
References: <list-18864260 [at] prxy.net>
In-Reply-To: <list-18864260 [at] prxy.net>

"Stagecraft" <stagecraft [at] theatrical.net> writes:
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Many universities do recognize the MFA as a terminal degree (it sounds so
>deadly) if the granting institution considers it a terminal degree.  You
>can
>request an equity study.  This is something that you, personnel and your
>department chair participate in.  You can help the most by finding
>institutions similar to the one that you are at and finding out what they
>are paying for work similar to what you do.   There should also be a
>stated
>salary range for each academic rank at the University.  Part of your
>equity
>study should be to see what rank your peers are at, at these different
>schools.  Good luck.
>
>Steve Waxler
>Technical Director
>College Conservatory of Music
>University of Cincinnati
>
>-----Original Message-----
>From: Christopher Haas CEHAAS [mailto:CEHAAS [at] uncg.edu] 
>Sent: Thursday, February 17, 2005 12:20 PM
>To: Stagecraft
>Subject: Re: Contract negotiations
>
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Good luck!!!
>
>My thoughts have been it's always easier to get a pay raise when you have 
>another job offer in hand or close to in hand.  Every University/College 
>that I've moved on from has always come up with the extra money to match 
>offers and to tempt me to stay.  It's kind of sad that it takes looking 
>for another job to get the hopes of a significant pay raise.  My 
>frustration in my last couple TD positions is the fact that since I'm 
>contract and not tenure track, there's no hope of promotion  (Asst Prof
>to 
>Assoc Prof, etc).  So those potential pay raises aren't available either. 
>Don't get me started about the differences between PhD and MFA salaries. 
>Why don't salary scales in Universities reflect that the MFA is a
>terminal 
>degree?  I get tired of being lumped in with the folks with MAs in 
>English, History, etc.  I've got the recognized terminal degree for my 
>field, I don't need nor want a Phd!!!  Oh well, I guess I should have
>gone 
>into Engineering like I first thougt I would, but then I would probably 
>have to wear a tie to work, so never mind.
> 
>Chip Haas
>Technical Director
>Department of Theatre
>The University of North Carolina at Greensboro
>
>336-334-3891

Some do recognize it as terminal but simply don't pay the arts positions
as they do other fields. I had an experience similar to Chip's (in fact it
was the same job), by the time I left they had finally agreed to hire an
asst. to deal with some of the load issues. And sorry chip, some of us
still have to wear ties.

Joshua G. Webb
Designer/Technical Director
Worcester Academy
81 Providence St.
Worcester, MA 01604
508.754.5302 x174


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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA9795F6 [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Contract negotiations
Date: Thu, 17 Feb 2005 15:39:47 -0500

There is a little bit of the supply and demand theory.  Sorry to say that
there seems to be a lot of supply in the arts and the demand is not as high
as for engineers or lawyers.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati


Some do recognize it as terminal but simply don't pay the arts positions
as they do other fields. I had an experience similar to Chip's (in fact it
was the same job), by the time I left they had finally agreed to hire an
asst. to deal with some of the load issues. And sorry chip, some of us
still have to wear ties.

Joshua G. Webb
Designer/Technical Director
Worcester Academy
81 Providence St.
Worcester, MA 01604
508.754.5302 x174

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

Reply-To: <drkrajec [at] stritch.edu>
From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: props in the academy
Date: Thu, 17 Feb 2005 15:36:07 -0600
Message-ID: <FFEKLPMABANLAIDPOAKBIEIFCIAA.drkrajec [at] stritch.edu>
In-reply-to: <list-18807229 [at] prxy.net>

Just taking a quick informal survey of small to medium liberal arts BA
programs in Theatre

Who is in charge of props for your productions?
Does the director get all of the hand props?
Does the scenic area just deal with set props and set dressing?
Do you have a separate budget for props?
Who comes up with a list of props for a show?
If it is the director, what is the deadline for said list?
When do the actors get show props in rehearsal?
What do you do when the director wants the Titanic the day before you open?
(Just kidding, the answer is to shoot him/her.)

Any response is appreciated.

David Krajec
Cardinal Stritch University
drkrajec [at] stritch.edu



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

Date: Thu, 17 Feb 2005 16:46:31 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: props in the academy
Message-id: <421510B7.567866F2 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-18871277 [at] prxy.net>

"David R. Krajec" wrote:
> ---------------------------------------------------
> 
> Just taking a quick informal survey of small to medium liberal arts BA
> programs in Theatre
> 
> Who is in charge of props for your productions?

A student props master under the supervision of the faculty prop
master

> Does the director get all of the hand props?

No.  That's the responsibility of the prop master to acquire the
props.

> Does the scenic area just deal with set props and set dressing?

It depends on who has time.  Generally the props crew deals with set
props and dressing.  For items like lamps, they work with the student
ME to get the props working.  Large furniture pieces may be split
between props and scenery to get done.

> Do you have a separate budget for props?

Our production budgets have a separate budget for props.  Our shop
supply budgets have lumped props and scenery together, although we're
changing that now that we acquired a faculty prop person.

> Who comes up with a list of props for a show?

Director and scene designer give the lists of props they need to the
student prop master, who compiles those two lists with the list he/she
has generated from the script.  The final list is approved by the
sceneic designer and the director before distribution.

> If it is the director, what is the deadline for said list?

First production meeting (one week after rehearsals start and scene
design is finalized)

> When do the actors get show props in rehearsal?

It depends on the prop.  Anything overly fragile or expensive may wait
until tech (fine crystal stemware) and guns/swords/etc wait until
tech, unless there is a fight call. Then the swords are used for fight
call and then locked up by the prop master until the next time they're
needed.

Our new Prop Professor is a strong advocate of getting as many show
props into reahearsal as early as possible.  If they're not going to
work for any reason she wants to know that sooner rather than later.  

Stephen Litterst

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

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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 17 Feb 2005 21:53:17 GMT
Subject: Re: (OT?) Looking for scripts, rights
Message-Id: <20050217.135323.8665.92396 [at] webmail11.lax.untd.com>


Dear Dale,
When I produced "A Medicine for Melancholy", "Towards the Chicago Abyss" and "The Pedestrian" in 1971 or 1972, we contacted Ray Bradbury directly. Theatre West on Cahuenga Bl. West (323)851-4839 should have the information that you wish, as I spoke to him there after seeing one of his newest shows.
/s/ Richard

> I've got a student who would like to make a short film based on one > of Ray Bradbury's short stories (from 1957) - does anyone know who  > represents the collected works?  
> Richard, do you know who reps this stuff?
    --Dale



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

Message-ID: <45c56d3405021714167cce6ec7 [at] mail.gmail.com>
Date: Thu, 17 Feb 2005 17:16:14 -0500
From: Jared Fortney <jared.fortney [at] gmail.com>
Reply-To: Jared Fortney <jared.fortney [at] gmail.com>
Subject: Re: Cable Clip Torque

On the subject of torque wrenches,  does anyone have one they
particularly like?  I've been on the hunt for a t-handled torque
driver, but haven't had much luck.  I'm mostly interested in using the
driver on 1/8" and 3/16" clips, so it doesn't need a huge range. 
Thanks.

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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA979643 [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: props in the academy
Date: Thu, 17 Feb 2005 17:26:10 -0500

Here, at CCM, there are students assigned to do props for each production.
(All production students will do a props assignment-Sometimes they request a
second or third go at it).  They are under the guidance of the scenic
designer.  They take a class with the designer and also prop a given show.
Usually two students are assigned to each show (the show are pretty big).
The prop list comes from the director with help from the SM.  The director
and scenic designer have worked on and discussed what the props look like
and what the set dressing will be.  The SM's are usually responsible for
getting/creating rehearsal props (which do not have to be the real thing,
only something that resembles it in the important ways).  There is a cut off
date at which time any new requests will be honored only after the other
items are secured and there is still time and money left.  We do try to
provide the director with what s/he wants if it at all possible.  If it is
the Titanic that is requested just before opening we inform him that the
Titanic has sunk.  Just as there is a set construction and costume
construction budget, there is a props budget.  There is a lump of money for
sets, props and paint.  If the set will be small (I have yet to see that
happen) and the props large, we might shift money from one to the other.
How it gets distributed is looked at on a show by show basis.  From
experience we have a pretty standard distribution but it does change
according to the design.  

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: David R. Krajec [mailto:drkrajec [at] stritch.edu] 
Sent: Thursday, February 17, 2005 4:36 PM
To: Stagecraft
Subject: props in the academy

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

Just taking a quick informal survey of small to medium liberal arts BA
programs in Theatre

Who is in charge of props for your productions?
Does the director get all of the hand props?
Does the scenic area just deal with set props and set dressing?
Do you have a separate budget for props?
Who comes up with a list of props for a show?
If it is the director, what is the deadline for said list?
When do the actors get show props in rehearsal?
What do you do when the director wants the Titanic the day before you open?
(Just kidding, the answer is to shoot him/her.)

Any response is appreciated.

David Krajec
Cardinal Stritch University
drkrajec [at] stritch.edu


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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA979648 [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: props in the academy
Date: Thu, 17 Feb 2005 17:34:10 -0500

Just to add a little to the last post, we have much the same policy as
Stephen Litterst...

> Does the scenic area just deal with set props and set dressing?
THIS IS THE WAY WE APPROACH IT ALSO
It depends on who has time.  Generally the props crew deals with set
props and dressing.  For items like lamps, they work with the student
ME to get the props working.  Large furniture pieces may be split
between props and scenery to get done.

Our cut off date is usually two weeks before load in


> When do the actors get show props in rehearsal?
THIS IS ALSO HOW WE DO IT, AT TIMES THE DIRECTOR MAY REQUEST A SPECIAL PROP
OR SCENIC UNIT IN THE REHEARSAL ROOM EARLY,  IF POOSIBLE WE TRY TO
ACCOMMODATE.  FRAGILE OR SOMEWHAT "DANGEROUS" THINGS WHAT UNTIL THE TECH
REHEARSAL WHEN WE HAVE A FULL SUPPORT TEAM OF THE RUNNING CREW.
It depends on the prop.  Anything overly fragile or expensive may wait
until tech (fine crystal stemware) and guns/swords/etc wait until
tech, unless there is a fight call. Then the swords are used for fight
call and then locked up by the prop master until the next time they're
needed.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Stephen Litterst [mailto:slitterst [at] ithaca.edu] 
Sent: Thursday, February 17, 2005 4:47 PM
To: Stagecraft
Subject: Re: props in the academy

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


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

From: FrankWood95 [at] aol.com
Message-ID: <14.3f423a72.2f467b00 [at] aol.com>
Date: Thu, 17 Feb 2005 17:56:00 EST
Subject: Re: props in the academy

In a message dated 17/02/05 21:37:19 GMT Standard Time, drkrajec [at] stritch.edu 
writes:

> Just taking a quick informal survey of small to medium liberal arts BA
>  programs in Theatre.

We don't quite qualify, being a fairly large amateur outfit. But I thjink 
that the way we work is not too different.
>  
>  Who is in charge of props for your productions?

The props master/mistress, under the SM, and this goes for all other answers. 
 The SM is in control of the budget.

>  Does the director get all of the hand props?

See above.

>  Does the scenic area just deal with set props and set dressing?They have 
an input, sure. Props is a rather vague area. Furniture, carpets and so on are 
in the grey bit. The whole design team neds to consider this.

>  Do you have a separate budget for props?
>  Who comes up with a list of props for a show?
>  If it is the director, what is the deadline for said list?

Yes, and yes. The SM is the arbiter. In theory, the deadline is the 
production conference..




Frank Wood

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

Message-ID: <000201c51544$11ace4b0$a8a44481 [at] rcarovil>
From: "Rob Carovillano" <rcarovillano [at] verizon.net>
References: <list-18876388 [at] prxy.net>
Subject: Stock Platforms
Date: Thu, 17 Feb 2005 17:57:34 -0500

I am contemplating a change in our stock platforms.  We currently have 2x4 
frame construction platforms (some of which are 15+ years old, others made 
from warped wood).  We have corner leg brackets bolted to the 4 corners and 
2 inside corners.  We are going to be raking the stage for our next 
production and I was thinking that it would be easier to work with 1xstock 
platforms without the bolted leg brackets.  We could reuse the 3/4" ply from 
most of the platforms we have.  In the end the only downside I see is being 
able to store less (aprox 12 where we now have 18) and the time involved in 
building them.  Input, suggestions?

Rob Carovillano
Technical Director
Bluett Theatre
Saint Joseph's University
610-660-1044
rcarovil [at] sju.edu
----- Original Message ----- 
From: Waxler, Steve (waxlers)
To: Stagecraft
Sent: Thursday, February 17, 2005 5:34 PM
Subject: Re: props in the academy


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

Just to add a little to the last post, we have much the same policy as
Stephen Litterst...

> Does the scenic area just deal with set props and set dressing?
THIS IS THE WAY WE APPROACH IT ALSO
It depends on who has time.  Generally the props crew deals with set
props and dressing.  For items like lamps, they work with the student
ME to get the props working.  Large furniture pieces may be split
between props and scenery to get done.

Our cut off date is usually two weeks before load in


> When do the actors get show props in rehearsal?
THIS IS ALSO HOW WE DO IT, AT TIMES THE DIRECTOR MAY REQUEST A SPECIAL PROP
OR SCENIC UNIT IN THE REHEARSAL ROOM EARLY,  IF POOSIBLE WE TRY TO
ACCOMMODATE.  FRAGILE OR SOMEWHAT "DANGEROUS" THINGS WHAT UNTIL THE TECH
REHEARSAL WHEN WE HAVE A FULL SUPPORT TEAM OF THE RUNNING CREW.
It depends on the prop.  Anything overly fragile or expensive may wait
until tech (fine crystal stemware) and guns/swords/etc wait until
tech, unless there is a fight call. Then the swords are used for fight
call and then locked up by the prop master until the next time they're
needed.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Stephen Litterst [mailto:slitterst [at] ithaca.edu]
Sent: Thursday, February 17, 2005 4:47 PM
To: Stagecraft
Subject: Re: props in the academy

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


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

Message-ID: <000501c51545$06e6e890$a8a44481 [at] rcarovil>
From: "Rob Carovillano" <rcarovillano [at] verizon.net>
References: <list-18876388 [at] prxy.net>
Subject: Fog Curtain
Date: Thu, 17 Feb 2005 18:04:25 -0500

Anyone know of a good way to create a fog curtain/wall effect?  Dry Ice or 
CO2 cooled fog dropped from some type of device would work.  Anyone done 
anything like this.

Rob Carovillano
Technical Director
Bluett Theatre
Saint Joseph's University
610-660-1044
rcarovil [at] sju.edu
----- Original Message ----- 
From: Waxler, Steve (waxlers)
To: Stagecraft
Sent: Thursday, February 17, 2005 5:34 PM
Subject: Re: props in the academy


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

Just to add a little to the last post, we have much the same policy as
Stephen Litterst...

> Does the scenic area just deal with set props and set dressing?
THIS IS THE WAY WE APPROACH IT ALSO
It depends on who has time.  Generally the props crew deals with set
props and dressing.  For items like lamps, they work with the student
ME to get the props working.  Large furniture pieces may be split
between props and scenery to get done.

Our cut off date is usually two weeks before load in


> When do the actors get show props in rehearsal?
THIS IS ALSO HOW WE DO IT, AT TIMES THE DIRECTOR MAY REQUEST A SPECIAL PROP
OR SCENIC UNIT IN THE REHEARSAL ROOM EARLY,  IF POOSIBLE WE TRY TO
ACCOMMODATE.  FRAGILE OR SOMEWHAT "DANGEROUS" THINGS WHAT UNTIL THE TECH
REHEARSAL WHEN WE HAVE A FULL SUPPORT TEAM OF THE RUNNING CREW.
It depends on the prop.  Anything overly fragile or expensive may wait
until tech (fine crystal stemware) and guns/swords/etc wait until
tech, unless there is a fight call. Then the swords are used for fight
call and then locked up by the prop master until the next time they're
needed.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Stephen Litterst [mailto:slitterst [at] ithaca.edu]
Sent: Thursday, February 17, 2005 4:47 PM
To: Stagecraft
Subject: Re: props in the academy

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


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

Message-ID: <42152934.5020202 [at] telus.net>
Date: Thu, 17 Feb 2005 16:31:00 -0700
From: "RODOK!!!" <rodok [at] telus.net>
Subject: Re: Fog Curtain
References: <list-18876388 [at] prxy.net> <list-18879173 [at] prxy.net>
In-Reply-To: <list-18879173 [at] prxy.net>

We built a fog curtain based on a design that Tracy Nunnally shared.
It involved joining lenghts of pvc pipe that went from large to smaller 
diameter the further from the fog maching that the pipe ran. Holes were 
cut in the pipe
that were smaller closer to the fog machine to larger along the length. 
A fan box was fitted to the fog machine to push the fog at some pressure 
through the pipe.
We've underhung the fog curtain and have used it from the floor up 
depending on what was desired.
Rod Osiowy
Wild Theatre
Cranbrook, BC

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

Message-Id: <p06020401be3ad19d70ad [at] [134.53.196.69]>
In-Reply-To: <list-18871277 [at] prxy.net>
References: <list-18871277 [at] prxy.net>
Date: Thu, 17 Feb 2005 18:33:55 -0500
From: Gion DeFrancesco <defranga [at] po.muohio.edu>
Subject: Re: props in the academy

In our medium sized liberal arts BA porgram, we've divided faculty 
responsibility so that our TD serves as department prop master (which 
he had an interest in doing) and the scene designer acts as charge 
artist.

He'll supervise a student prop master on each show, provided there is 
a student interested in doing it.

He or the student prop master gets hand props and dressing (if the 
designer gets information to him - as designer I like doing my own 
dressing and also usually help find dressing props)

Our stage managers generate props lists. Preliminary is due on the 
day rehearsals start, added items included in rehearsal reports, 
final list needs to be complete a week before tech with no changes 
after. On a really proppy show we'll have a special prop meeting with 
director, set designer, props master, stage manager so that we're 
sure how many and/or how used.

Same as others with show props in rehearsal. Valuable/fragile, danger 
items, food wait until tech.

Our budget is weird. In our mainstage season the scenery budget 
includes construction, props and paint. In our secondstage season, 
props has its own budget (about half the amount of the set budget)

(we also call props masters of all genders "props masters")



>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Just taking a quick informal survey of small to medium liberal arts BA
>programs in Theatre
>
>Who is in charge of props for your productions?
>Does the director get all of the hand props?
>Does the scenic area just deal with set props and set dressing?
>Do you have a separate budget for props?
>Who comes up with a list of props for a show?
>If it is the director, what is the deadline for said list?
>When do the actors get show props in rehearsal?
>What do you do when the director wants the Titanic the day before you open?
>(Just kidding, the answer is to shoot him/her.)
>
>Any response is appreciated.
>
>David Krajec
>Cardinal Stritch University
>drkrajec [at] stritch.edu


-- 
+++++++++++++++++++++++++++++++++++++++
Gion DeFrancesco
Assistant Professor of Theatre/Scene Designer
MUT Production Manager
Miami University
131 Center for Performing Arts
Oxford, OH 45056
513.529.8318

On the web at http://arts.muohio.edu/defranga

++++++++++++++++++++++++++++++++++++++
"There are no hopeless situations; there are only men who have grown 
hopeless about them." Clare Boothe Luce


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

Date: Thu, 17 Feb 2005 18:42:09 -0500
Subject: Re: Sepia Tone
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE3A9601.1653D%brooklyn [at] dopher.com>
In-Reply-To: <list-18627764 [at] prxy.net>

Chris Warner: 

> I am looking to wash a set with a similar color tone that is seen with a
> sepia tone photograph or a speia tone film.  I am considering R05, R16 any
> suggestions would be greatly appreciated.
> 
> Thanks in advance
> Chris Warner

First, keep in mind that light doesn't do greys or browns very well,
certainly not from a single-color wash.  Your perceived "sepia" will come as
a result of contrasting with something entirely its opposite -- some clear
jewel-like greens and blues, for instance.  Either put those colors
somewhere in the composition with the "sepia" or make them the predominant
colors in the previous cue.  Crossfade almost to black before fading up the
"sepia"-colored cue.

As for which gels to use... Well, I've had good luck with R99 (chocolate).
Yeah, its a hackneyed color, derided by designers better than I.  But for
beautiful sidelight in an introspective dance piece, nothing rivals it.  It
is, however, merely amber + neutral density (as sepia pigment is), so maybe
you want to play with R20, R21, R97 and R98 as well as the R05 and R16.  R99
looks nicely brown if its introduced to our vision correctly...but alone
will soon take on a nice rosy tint, which may or may not be what you're
after.

YMMV

Good luck,
Cris Dopher, LD


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

Date: Thu, 17 Feb 2005 18:57:55 -0500
Subject: Re: Costume shop info requested
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE3A99B3.16540%brooklyn [at] dopher.com>
In-Reply-To: <list-18627764 [at] prxy.net>

Phil Johnson: 

> We are making a new costume shop. Here is what we are looking at.
> 
> 4 new machines
> 2 sergers
> 1 industiral iron
> cutting tables   (what size?)
> 
> We have  Washer, Dryer, wand steamer and costume storage area.
> 
> What else am I missing other than storage

The other responses are well-considered advice.  I, too, was in your
position once, putting together a new shop from scratch.  I've spent time
working in a costume shop, so I wasn't going in blind.  We ended up with a
1:1:4 ratio on machines.  1 serger (4 thread), 1 buttonhole/fancy stitch
machine, and 4 standard, beefy, can't-kill-em cast iron Singers on
custom-built tables with rebuilt motors.  (I still can't believe the skill
of that guy from the Bronx.)

4x8 tables at 40" with storage for bolts underneath, 10" off floor.
Homosote tops for ease of pinning; brackets at end of table to hold reams of
brown paper (to cover top with).

Multiple cabinets with lots of cubby holes and a few cabinets with 48
drawers for notions.

Fitting room with multiple mirrors hidden in costume storage; large wooden
boxes for scraps storage.  Two industrial irons, minimum.

Dye room:  whatever you put in here, PLEASE, for the LOVE OF GOD, ensure the
dye room is separate AND separately ventilated!  Your costumers will love
you for it and OSHA won't give you any problems (ideally anyone doing dye
jobs has been fit-tested for the proper PPE).

Washer and dryer doesn't need to be fancy, just big.

Adjoining but separate office (with windows) for shop foreman.

Finally... Though you have to start work now, you would be wise to hold off
on as much as possible until the new costume shop head is hired!

Cris Dopher, LD, former TD

Costumeshopmonkeynotincluded.div


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

Date: Thu, 17 Feb 2005 19:14:38 -0500
Subject: Re: Sepia Tone
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE3A9D9E.16545%brooklyn [at] dopher.com>
In-Reply-To: <list-18807229 [at] prxy.net>

Josh Webb: 
> I'd tend to agree with my old friend Stan, though I might be inclined to
> use R09 or R12 as it would give you a bit more room to play with intensity.

R12?  Maybe too yellow?  R09, good call.

I should have mentioned in my last post, I just finished lighting 42nd
Street and used R08 and R09 exclusively in the backstage scenes; it was a
nice light sepia image, without killing the tremendous variety of colors in
the costumes.

Cris Dopher, LD


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

Message-id: <fc.00757e4300fd0b1c3b9aca00ad9cd2f2.fd0b1e [at] worcesteracademy.org>
Date: Thu, 17 Feb 2005 19:58:41 -0500
Subject: Re: Sepia Tone
From: "Joshua Webb" <jwebb [at] worcesteracademy.org>
References: <list-18887558 [at] prxy.net>
In-Reply-To: <list-18887558 [at] prxy.net>

"Stagecraft" <stagecraft [at] theatrical.net> writes:
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Josh Webb: 
>> I'd tend to agree with my old friend Stan, though I might be inclined to
>> use R09 or R12 as it would give you a bit more room to play with
>intensity.
>
>R12?  Maybe too yellow?  R09, good call.
>
>I should have mentioned in my last post, I just finished lighting 42nd
>Street and used R08 and R09 exclusively in the backstage scenes; it was a
>nice light sepia image, without killing the tremendous variety of colors
>in
>the costumes.
>
>Cris Dopher, LD
>

Yeah I don't know what I was thinking with the R12, as soon as I sent the
message I felt like ducking for cover.

Joshua G. Webb
Designer/Technical Director
Worcester Academy
81 Providence St.
Worcester, MA 01604
508.754.5302 x174


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

Date: Thu, 17 Feb 2005 20:09:17 -0500
From: nancy moeur <nmoeur [at] wso.williams.edu>
Subject: Creating Effects ETC 48/96
Message-id: <1108688957.4215403dc96ad [at] webmail.williams.edu>

Edwin asked:

>I am trying to create the effect of a flashing neon sign for an upcoming
>production of "Stage Door" I have two S4 to provide the "neon".  I am having
>one hell of a time trying to create the "flashing" effect.  Here is what I
>would like the effect to look like:

Steve Litterst told him how to write an Effect cue, which was very nice of him.

But I want to jump in and say that Effect cues on that board drive me CRAZY if
you're later trying to edit the cue, or write a complicated sequence, or
whatever.  So I figured I'd post my modification to Steve's method.

Write your cue as usual.  Don't put any of the channels that will be in the
effect in the cue (or put them at their base/low levels)

Go to BLIND
Type SUB 1 (or sub of your choice) TYPE 3
Press S7 (More Softkeys) until "Bump Status" appears in S1
Press S1, 1 to enable the bump button

Write your effect as Steve described in the Submaster.  Be sure to record when
done.

Go back to LIVE.

Run the effect by running the submaster up or pressing the bump button.  

OR, attach the effect to the cue by doing this:

Go to SETUP
Choose 8-Macro Editing

Use S1 to pick a Macro Number
Touch the Sub 1 BUMP BUTTON once
Hit ENTER MACRO to finish recording your macro--all that should be recorded is
"Sub1"

Go back to LIVE

Type CUE ## LINK MACROENTER 1 ENTER CLEAR (clears out the Follow time, unless
you want it)

In the cue when the effect is supposed to stop, do the same thing.  Pressing the
bump button (via the macro) will turn off the effect.


This takes way longer to explain than to actually do!  I encourage my students
to just stay away from Effect cues altogether (on the Express) and to use this
for anything remotely complicated.

On a side Express-related note:  Roger asked a couple of days ago about a
tutorial for this board.  I responded to him privately and sent him mine, and
tried to post to the list to offer it to anyone else who wanted it.  But I'm
not real smart, so I got the address wrong and it bounced....  If anyone DOES
want an Express tutorial, let me know.  If I sent you one last year, it hasn't
been revised much--you probably don't need a new one.  I can send either a .doc
or a .pdf

best to all,
(why am I writing about programming instead of going home and making dinner?)

-nancy

----
Nancy Moeur
AME, Syracuse Stage & SU Drama
nmoeur [at] syr.edu -or-
nmoeur [at] wso.williams.edu
----


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

Message-ID: <421540A6.3020307 [at] fredonia.edu>
Date: Thu, 17 Feb 2005 20:11:02 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: props in the academy
References: <list-18871277 [at] prxy.net>



David R. Krajec wrote:
>> Just taking a quick informal survey of small to medium liberal arts BA
> programs in Theatre
>
David, we have a BFA component as well but most props types are BAs or 
non-Production/Design BFAs.  Complex shows will get a higher skilled 
BFA/Prod.Des. student

> Who is in charge of props for your productions?
Property Supervisor- student-who does job to fulfilll production 
requirements.  Volunteers or is assigned position.

> Does the director get all of the hand props?
No, prop super working with TD oversight

> Does the scenic area just deal with set props and set dressing?
Typically but depends on specific item

> Do you have a separate budget for props?
Yes

> Who comes up with a list of props for a show?
Director, SM and Props Super.  Drop dead date is two weeks previous to 
All-Day Tech. (Which preceeds 1st Tech by 2 days.)

> If it is the director, what is the deadline for said list?
> When do the actors get show props in rehearsal?
Depends on item but during the week leading up to All-Day Tech 
generally. Usually about 1.5 weeks before opening.  They have DOOFERS up 
til then.

> What do you do when the director wants the Titanic the day before you open?
> (Just kidding, the answer is to shoot him/her.)
That boat will sink with the deck chairs NOT rearranged to fit the new 
whim. ;)

HTH
Steve Rees


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

Message-ID: <42154360.7010206 [at] fredonia.edu>
Date: Thu, 17 Feb 2005 20:22:40 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Stock Platforms
References: <list-18876388 [at] prxy.net> <list-18878492 [at] prxy.net>

We have a system of stress-skin decks that are 4x8. they mate with 5/4 
stock splines that slip into 5/4 grooves on all 4 edges.  Mostly we use 
them flat placed on 1 ft square bluefoam pylons up to about 24" or so. 
I'll compression leg a 2x4 frame if we need higher but will still deck 
with the stressskin.  For a raked dec, I do tapered 1x4 trestles (custom 
built as needed but never exceeding 3/4" rise for each foot of run)to be 
placed on 2' centers up/down stage with 1x3 purlins laid across them 
left/right on 32" centers that support the 4x8 stresskins.  Decks are 
splined as normal.
HTH.
Steve Rees,TD
SUNY-Fredonia

Rob Carovillano wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I am contemplating a change in our stock platforms. [snip]


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

Message-ID: <42154527.7030307 [at] fredonia.edu>
Date: Thu, 17 Feb 2005 20:30:15 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: props in the academy
References: <list-18871277 [at] prxy.net> <list-18896369 [at] prxy.net>

Hi,
For clarification.  The LIST is finalized by the end of the first week 
of rehearsal.  The drop dead date is then generally about three weeks 
later.  We use roughly a 6-week production schedule.


> 
>> Who comes up with a list of props for a show?
> 
> Director, SM and Props Super.  Drop dead date is two weeks previous to 
> All-Day Tech. (Which preceeds 1st Tech by 2 days.)

HTH,
Steve


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

Message-ID: <421545E7.9010108 [at] fredonia.edu>
Date: Thu, 17 Feb 2005 20:33:27 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Stock Platforms
References: <list-18876388 [at] prxy.net> <list-18878492 [at] prxy.net> <list-18898295 [at] prxy.net>

HI
Another clarification.  Gawd, I'm knackered!!

The trestles march across the stage from side to side on 2' centers. 
the  purlins go from downstage to upstage.  sorry.  I should read before 
mashing the go button :(

Going to bed now.
Steve
Stephen E. Rees wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> We have a system of stress-skin decks that are 4x8. they mate with 5/4 
> stock splines that slip into 5/4 grooves on all 4 edges.  Mostly we use 
> them flat placed on 1 ft square bluefoam pylons up to about 24" or so. 
> I'll compression leg a 2x4 frame if we need higher but will still deck 
> with the stressskin.  For a raked dec, I do tapered 1x4 trestles (custom 
> built as needed but never exceeding 3/4" rise for each foot of run)to be 
> placed on 2' centers up/down stage with 1x3 purlins laid across them 
> left/right on 32" centers that support the 4x8 stresskins.  Decks are 
> splined as normal.
> HTH.
> Steve Rees,TD
> SUNY-Fredonia
> 
> Rob Carovillano wrote:
> 
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> I am contemplating a change in our stock platforms. [snip]
> 



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

Date: Thu, 17 Feb 2005 21:04:33 -0500
From: BKHAIN [at] aol.com
Subject: HELP! Colortran Encore 'airflow' light
Message-ID: <0CA9A35C.0B0D134D.00040801 [at] aol.com>

Hey everybody.

Anybody know what it means when the red 'airflow' light comes on? I mean obviously I know the board freezes up, but does anybody know how to fix it? We disconnected the board from the dimmers and still have the error light so have deducted that it's some kind of board error.  Doing a 'hard reset' by holding down the 'clear' key and turning the key switch on, off, on then reloading the show from disc will fix it for awhile... any body know any other tricks?  

Please respond directly to this email as I'm on digest. and in the middle of the show.  

Thanks everybody!

Ben 
bkhain [at] aol.com 

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

Message-ID: <42154EB3.3040405 [at] audiovisualdevices.com.au>
Date: Fri, 18 Feb 2005 12:10:59 +1000
From: David Duffy <david [at] audiovisualdevices.com.au>
Subject: Re: HELP! Colortran Encore 'airflow' light
References: <list-18905354 [at] prxy.net>
In-Reply-To: <list-18905354 [at] prxy.net>

BKHAIN [at] aol.com wrote:

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Hey everybody.
>
>Anybody know what it means when the red 'airflow' light comes on? I mean obviously I know the board freezes up, but does anybody know how to fix it? We disconnected the board from the dimmers and still have the error light so have deducted that it's some kind of board error.  Doing a 'hard reset' by holding down the 'clear' key and turning the key switch on, off, on then reloading the show from disc will fix it for awhile... any body know any other tricks?  
>
>Please respond directly to this email as I'm on digest. and in the middle of the show.  
>  
>

Perhaps it's sensing that the cooling fan(s) are blocked or not running?
David...

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

Message-ID: <421556DE.1030403 [at] fuse.net>
Date: Thu, 17 Feb 2005 21:45:50 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Breaking glass panel effect
References: <list-18843212 [at] prxy.net>
In-Reply-To: <list-18843212 [at] prxy.net>

Mike Katz wrote:


> Good morning all,
> We are in preliminary discussions on a spring production that the 
> director has a wonderful vision for.  He would like to shatter a 4' x 8' 
> "plate glass" window nightly.   It will be a great look for the show and 
> we would love to do it if we can. 

If you have room below the pane, you can rig a sliding 
frame, and drop out the full pane while simultaneously 
dropping a bunch of pre-cut lexan shards out of the valence 
over the now empty frame.

> My first  step was to go to  
> SmoothOn.com to look for plastic glass resins and sure enough they have 
> Smash resin to do it.  So now I have some questions ,  It will take 
> about 2 1/2 gallons to cast a 4' x 8'  x 1/8" sheet which will cost in 
> the vicinity of $200/ rehearsal and performance. 

I was under the impression that a lot of the casting resins 
could be re-cast? Is this not possible?  Sweep up the old, 
clean it, add a little new, and re-melt it? Be sure to make 
a few spares just in case one fails at 10 mins to curtain.

Stuart


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

In-Reply-To: <list-18865046 [at] prxy.net>
References: <list-18863678 [at] prxy.net> <list-18865046 [at] prxy.net>
Message-Id: <83cf3057b6880ab83dc0f65245f92b07 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: checking cable clips 
Date: Thu, 17 Feb 2005 22:10:05 -0500

Mark O'Brian
>> 1/8" clip               4.5 ft lbs
>> 3/16" clip              7.5
>> 1/4"  clip              15.0
> Bigger than THIS  and it ain't scenery anymore!
> My Opinion...
>> 5/16" clip              30.0
>> 3/8" clip               45.0
>> 7/16 clip               65
>> bigger than that and it ain't scenery anymore.
>>
>> Bill S.

It depends on what hall your working.  New York, LA, Vegas I agree with 
Bill.  My high school Performing Arts Center I am with you Mark.


Greg Bierly
Technical Director
Hempfield HS


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Message-ID: <000d01c51568$4d7d8160$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-18873004 [at] prxy.net>
Subject: Re: (OT?) Looking for scripts, rights
Date: Thu, 17 Feb 2005 19:16:57 -0800

> Dear Dale,
> When I produced "A Medicine for Melancholy", "Towards the Chicago Abyss" 
> and "The Pedestrian" in 1971 or 1972, we contacted Ray Bradbury directly. 
> Theatre West on Cahuenga Bl. West (323)851-4839 should have the 
> information that you wish, as I spoke to him there after seeing one of his 
> newest shows.


Thank you, Richard.  (How did Dale's name get on my query?)  In my 
ignorance, I poorly assumed (shame on me) that Ray Bradbury had passed on in 
recent years.  I'm in the process of contacting him (and his 'people') now.

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


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End of Stagecraft Digest #299
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