Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 20439940; Mon, 07 Mar 2005 19:57:37 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #319 Date: Mon, 07 Mar 2005 19:57:09 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #319 1. Re: VectorWorks 10 class problem by "Kevin Linzey" 2. Re: Small Detour from SM/Designer Relationship by Sunil Rajan 3. Re: Gaffers tape (was S4 lens) by Greg Bierly 4. Re: resumes by "Karl G. Ruling" 5. Re: resumes by Mike Brubaker 6. SM and board ops by "David R. Krajec" 7. Re: Gaffers tape by Barney Simon 8. Re: resumes by "Michael S. Eddy" 9. SM/Designer Relationship- longish post by Dorian Kelly 10. dimming LEDs by Jerry Durand 11. Re: SM/Designer Relationship by Bruce Purdy 12. Digest #318: SMs, VW classes by "Jay, Jay Maury, Maury" 13. Giant scroll construction by Randy Susevich 14. Re: SM calls the show by "jknipple" 15. Re: SM/Designer Relationship by "Tony" 16. Re: SM calls the show by FrankWood95 [at] aol.com 17. Re: SM calls the show by IAEG [at] aol.com 18. Re: SM calls the show by FrankWood95 [at] aol.com 19. Re: SM calls the show by IAEG [at] aol.com 20. Listers talents by "LES LIND" 21. Re: Directors in booth by Jeff Forbes 22. Re: SM/Designer Relationship- longish post by FrankWood95 [at] aol.com 23. Re: Directors in booth by IAEG [at] aol.com 24. Re: SM/Designer Relationship by FrankWood95 [at] aol.com 25. Re: Listers talents by Pat Kight 26. Re: Listers talents by Bruce Purdy 27. Re: What brand of white marker (was Painting S4 Lens) by Mike Voytko 28. Re: Giant scroll construction by "Merel Ray-Pfeifer" 29. Re: Listers talents by "Andy Leviss" 30. Re: Directors in booth by "Mike Burnett" 31. Re: SM calls the show by Steve Larson 32. Re: Giant scroll construction by Chuck Mitchell 33. cord by "jknipple" 34. Re: SM calls the show by IAEG [at] aol.com 35. Re: cord by "Storms, Randy" 36. Re: cord by IAEG [at] aol.com 37. Re: cord by "jknipple" 38. Re: cord by "richard j. archer" 39. Re: SM calls the show by Steve Larson 40. Re: SM calls the show by Steve Larson 41. Re: Giant scroll construction by "Stephen E. Rees" 42. Re: cord by "Gulig, Arthur F." 43. Re: cord by Greg Bierly 44. More Stupid Things by "Alf Sauve" 45. everlasting bubbles by "Ann Warren" 46. Re: Small Detour from SM/Designer Relationship by CB 47. Re: cord by Steve Larson 48. Re: everlasting bubbles by "Chad Croteau" 49. SM calls the show by CB 50. Re: SM calls the show by "Jeffrey E. Salzberg" 51. Re: cord by "Kevin Linzey" 52. Re: dimming LEDs, CK patent by "James Smith, www.theatrewireless.com" 53. Re: cord by "Michael Denison" 54. Re: SM calls the show by CB 55. Re: SM calls the show by CB 56. Re: everlasting bubbles by "Waxler, Steve (waxlers)" 57. Re: dimming LEDs, CK patent by Jerry Durand 58. Re: SM calls the show by Pat Kight 59. Re: Directors in booth by "Ronnie Thevenot" 60. Re: everlasting bubbles by Greg Bierly 61. Re: SM/Designer Relationship by FrankWood95 [at] aol.com 62. Re: SM calls the show by FrankWood95 [at] aol.com 63. Re: cord by Gregg Carville 64. Re: SM calls the show by Brian Munroe 65. Re: cord by "Storms, Randy" 66. Re: SM calls the show by FrankWood95 [at] aol.com 67. Re: SM calls the show by FrankWood95 [at] aol.com 68. Re: Detour from Designer SM Relationship by Al Fitch 69. Re: Detour from Designer SM Relationship by Charlie Richmond 70. Re: More Stupid Things by "Tony" 71. Re: cord by Greg Williams 72. Re: Giant scroll construction by Bill Sapsis 73. Re: Listers talents by Bill Sapsis 74. Re: Detour from Designer SM Relationship by "Stephen E. Rees" 75. Re: cord by "Dr. Randall W.A. Davidson" 76. Re: Listers talents by Dale Farmer 77. Re: everlasting bubbles by Dale Farmer *** 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. ---------------------------------------------------------------------- From: "Kevin Linzey" Subject: RE: VectorWorks 10 class problem Date: Mon, 7 Mar 2005 09:27:57 -0500 Message-ID: <002f01c52321$dd868240$1101a8c0 [at] KLinzeypc> In-Reply-To: Andrew, Check the class of the objects within the object or Symbol. Even though = the LX position is in the "Lighting Position" class, the objects inside of = the symbol are probably in the "Label-Purpose" class. Kevin ---------------------------- Kevin Linzey Nemetschek North America Integrated Products Engineer ----------------------------- > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf=20 > Of Riter, Andrew (Head Ltg) > Sent: Monday, March 07, 2005 12:04 AM > To: Stagecraft > Subject: VectorWorks 10 class problem >=20 >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > Hello all >=20 > I'm using VectorWorks 10, and am having issues with classes,=20 > and portions of things not working as I'd expect them to: >=20 > I have a Lighting Position (a 2D object as recognized by VW)=20 > drawn, on layer "Royal Box", class "Lighting Position". It=20 > turns invisible when I set class LX positions to Invisible=20 > (GOOD), but with LX Positions visible, it also turns=20 > invisible when the Class "Label - Purpose" is turned=20 > invisible (BAD). "Label Purpose" was created (I believe) as=20 > part of an instrument legend (don't get me going on those,=20 > sigh, they never centre correctly, and the text is often in=20 > the wrong direction, and sometimes I can grab the text and=20 > move it, and sometimes I grab the entire unit, no matter how=20 > close I zoom in and click on the lable). >=20 > "Label - Purpose" will also turn some lines on layer "Canopy"=20 > and Class "Building" invisible, even when those lines for=20 > part of a group. >=20 > I think there is a similar fault involving other classes in=20 > my drawing as well. It seems to affect VW-recognized=20 > Lighting Object (ie 2D instruments) or Lighting Positions. >=20 > Any thoughts as to why, and how I'd correct this? >=20 > I'm used to Generic Cadd 6, spent some time on other=20 > programs, etc. I've never come across Classes before. Can=20 > you give me some examples of how this second set of=20 > definitions/control tools/nomenclature would be best used,=20 > and why, and how. >=20 > I have an idea, I just can't really wrap my head around it. =20 > If you can supply real examples of how you use it with your=20 > house plot (or a show plot), that would be extremely helpful. >=20 > See you all in Toronto, mucklucks and all. >=20 > Andrew M. Riter > Head Lighting Technician > Chan Centre for the Performing Arts > University of British Columbia > 6265 Crescent Road > Vancouver, BC > V6T 1Z1 > 604-822-2372 > 604-822-1606 fax > chanlights [at] exchange.ubc.ca > =20 >=20 ------------------------------ In-Reply-To: References: Message-Id: <4DAFF31D-8F1D-11D9-BACB-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: Re: Small Detour from SM/Designer Relationship Date: Mon, 7 Mar 2005 10:26:40 -0500 On Mar 7, 2005, at 6:00 AM, Stagecraft wrote: > I have high expectations of my operators. I agree that timing is very > important, and I resent their being turned into automata on the end of > the SM cue > system. My 2 cents: for any playback show I've done, Broadway or otherwise, the operator is taking the "Go" on the SM's call. You've got a cue sheet, but the SM calls the show. There are exceptions to every rule though, as in Amadeus, where certain sound cues were actually taken on a visual by the operator alone! It was crucial to time it right, and when I was training as a sub, we had rehearsals with the performers, and even practiced those cues with the performers before every show! On musicals, the mixer usually is following book, and if there are specific sound cues, they are sometimes called by the SM with a cue light. There are also exceptions to this rule, as in Scarlet Pimpernel, where you had to hit the guillotine effect a split second BEFORE the blade dropped in order to time it right. There's no way it could have been a called cue! Cheers, Sunil Rajan Freelance Audio Mercenary ------------------------------ In-Reply-To: References:

Message-Id: <969c3080fea2a8ba41d133d482e8bb1d [at] dejazzd.com> From: Greg Bierly Subject: Re: Gaffers tape (was S4 lens) Date: Mon, 7 Mar 2005 11:08:41 -0500 Back then it was about $10 a roll now we are at about $13. Actually there is now a better grade available that I think is in the $25+ range but I haven't seen the need to get my hands on a roll. > Just out of interest how much do you pay for a role of best grade > gaffer > tape in the US? ------------------------------ From: "Karl G. Ruling" Date: Mon, 07 Mar 2005 11:12:09 -0500 Subject: Re: resumes Reply-to: kruling [at] esta.org Message-ID: <422C3709.3320.74E3F3 [at] localhost> In-reply-to: > And then proofread it again. I > can't tell you how many people I have already > disregarded for $50k jobs because their materials > lookied like they had been typed by a dog. This should have been addressed in the cover letter: "Please find my resume enclosed. It may have typographical errors, but very few, considering that it was typed by my dog, whom I trained myself." ------------------------------ Message-Id: <6.2.0.14.0.20050307111757.04021928 [at] mail.insightbb.com> Date: Mon, 07 Mar 2005 11:19:11 -0500 From: Mike Brubaker Subject: Re: resumes In-Reply-To: References:

THAT is a resume that I would never forget--and I would probably call the person just because of the creativity! But then, I have four dogs. The only thing they do to resumes is shred them. Mike At 11:12 AM 3/7/2005, Karl G. Ruling wrote: > > And then proofread it again. I > > can't tell you how many people I have already > > disregarded for $50k jobs because their materials > > lookied like they had been typed by a dog. > >This should have been addressed in the cover letter: > >"Please find my resume enclosed. It may have typographical errors, >but very few, considering that it was typed by my dog, whom I trained >myself." ------------------------------ Reply-To: From: "David R. Krajec" Subject: SM and board ops Date: Mon, 7 Mar 2005 10:37:58 -0600 Message-ID: In-Reply-To: Back in the 80's, I had the good fortune to work with Ritsaert ten Cate, a Dutch director who worked at the Mickery Theatre in Amsterdam. I was the light board op/SM for a show here in Milwaukee staged by Theatre X. The show involved multimedia, a live band playing to a pre-recorded sound track, machinery, a 20'X 30' reflecting pool, live ducks and carp filleted on stage. Oh, and actors, too! Just before the final dress for the show, he took me aside and said that the whole pacing and rhythm of the show depended on the how the light cues were performed and that I was his eyes and ears after opening night. I guess this is something that I instinctively knew, but was pleased to have that reinforced. The whole show can suffer if the cues drag. BTW, I ran the show on a 48 dimmer two-scene preset board and lots of cues on paper. Taking a walk down memory lane. David K. ------------------------------ Message-ID: <422C8682.8060505 [at] josephchansen.com> Date: Mon, 07 Mar 2005 11:51:14 -0500 From: Barney Simon Subject: Re: Gaffers tape References:

In-Reply-To: Greg Bierly wrote: > a better grade [gaffer tape] available that I think is in the $25+ Speaking of high price - premium gaffers' tape. I do NOT want to panic anyone BUT, I heard from an anonymous source that Permacel might be thinking of killing off the Prograde 672 (the large orders [at] about US$16 per roll-before last months increase). The story goes like this: a couple years ago the roll went from 60 yards to 50 yards; manufacturers have consolidated; last month the price went up 10-12%; they are making noise about raising the price again before year's end; no one will pay the new higher prices, demand will fall, and production will stop. Has anyone else felt this. I have a couple of dance companies that insist upon that specific brand and style number, is there something that others are using that I should start steering them to? Barney Simon JC Hansen Co Drapes, Drops, and Dance Floors ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Subject: RE: resumes Date: Mon, 7 Mar 2005 11:54:48 -0500 In-Reply-To: >> And then proofread it again. I >> can't tell you how many people I have already >> disregarded for $50k jobs because their materials >> lookied like they had been typed by a dog. >This should have been addressed in the cover letter: >"Please find my resume enclosed. It may have typographical errors, >but very few, considering that it was typed by my dog, whom I trained >myself." Okay, that's painfully funny and reminds me of an early resume oops. I was looking for a summer position at SETC while in college. As usual, I was behind before leaving for the trip. I took my resume to a copy shop to run off copies and they goofed and used bright blue paper for the copy job and there was no time to redo it. I went to dozens of interviews, trying to laugh off the goof. In the end, almost every one of the interviewers thought it was a clever way to stand out and the comment from the people with job offers was that my resume stood out in a pile of buff and ivory! Michael Eddy ------------------------------ Message-Id: In-Reply-To: References:

Date: Mon, 7 Mar 2005 17:03:21 +0000 From: Dorian Kelly Subject: SM/Designer Relationship- longish post A personal opinion and rambling stream of semi- conciousness only - feel free to shoot me down.... Many times I have asked myself whether the principle contribution of the operator - whether sound or light - has the role of what was called by Bentham "organ loft or mission control - which?" and I have never found the definitive answer. Put simply, some shows require obedience to time and co-ordination-critical cueing for both tightness and safety reasons and other shows require a contribution not unlike that of the actor or musician. In the instance of a major musical with fast flying, automation and movement it would be criminal foolishness for the operator to be a wild card, taking their own timings and doing their thing, except in the case of an emergency where the operator can see potential problems that the DSM misses, when delaying a blackout for example would be needed for safety reasons. On the other hand, a spookily-lit thriller or classic with softly moving shadows and interplay of light and shade on faces benefits hugely from a sensitive operator riding the controls to create nuance and tensions with an actor who himself will be varying his timing to make most use of an audience who in turn vary in their responses and feedback. This kind of operator needs and expects the trust of the lighting designer and the director, as they truly will be a performer in their own right, using the tools and instruments at their fingertips to enable them to create the music of light movement (and there's the other argument of faders v. automatics, but that's been done to death already) Both sound and light have a psychological function that nothing else, except maybe smell, can convey. The ability to make an emotion sweep over an audience like a tidal wave - or if you get the timing wrong, to kill it stone dead. So timing is crucial, whether is be the DSM who must anticipate just that little bit to allow for the time delays inherent in passing information, or the operator who must allow for their own responses In the case of a sound FX replay show there is little scope for individual expression over and above varying the volume in response to ambient noise, the fullness of the house and whether it is raining outside or not (absorbent outer clothing, since you ask) or very occasionally, a visual cue, so cueing is indicated as a guide only. .But in a reinforcement show, cuing can be more of a liability than a boon, as everything - but everything - varies during each performance and only the dedicated ears can optimise this. Besides, wearing cans is inimical to proper hearing. Both light and sound operators have to operate what I have described as a" Kelly's bio-neuro-mechanical servo feedback system", whereby a loop is formed between what is happening on the stage, the eye or ear, the brain's picture of the idea outcome, the arm, the hand, the controller or fader and the light or sound on the stage. The process, like a servo, is progressively compared and varied, reducing difference until the outcome is reached. This way the operator becomes his own best and worst critic, judge and occasionally executioner. The satisfactions can be enormous, the depressions bottomless. On the other hand, pressing the go button gives you a nice simple show, all goes well and you get to the pub early. But be warned you will be replaced by the DSM eventually who might as well push the button herself, if that's the way! I believe that flying and automation and all forms of scenery movement should invariably be cued - with the DSM holding the dead man's handle or e-stop. end of rant! Dorian Kelly Illuminati Creative Technology 3 Gladstone Road Colchester CO1 2EB +44 1206 798075 +44 7770 950964 ------------------------------ Message-Id: <6.2.1.2.0.20050307090422.05325da0 [at] localhost> Date: Mon, 07 Mar 2005 09:08:35 -0800 From: Jerry Durand Subject: dimming LEDs Being a Texas Instruments third-party consultant, I put a question in to TI through my channels about dimming LEDs and the CK patent issue (they make a LOT of the chips used in cell phones, including the PWM LED dimmers for the backlight and keypads). They did a quick search on the CK patents and said this is being elevated to the legal department, they see this as "a big issue". Be interesting to see how this turns out. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Date: Mon, 07 Mar 2005 12:21:34 -0500 Subject: Re: SM/Designer Relationship From: Bruce Purdy Message-ID: In-Reply-To: To take cues from the SM, or take your own cues? This whole thread, whilst interesting to read, is much like a debate over "Which is better: a hammer or a screwdriver?" Every show, every venue, every company is different. To choose the proper tool, you have to know whether you have a nail or a screw. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <20050307173404.13906.qmail [at] web54009.mail.yahoo.com> Date: Mon, 7 Mar 2005 09:34:03 -0800 (PST) From: "Jay, Jay Maury, Maury" Subject: Digest #318: SMs, VW classes In-Reply-To: First of all, Stage Managers: If our producers gave us adequate staff and budgets, we would all have ace operators and Stage Manager staff, but our situations often leave us with neither. If a small show does not have a SM, the op's better be up to it. In my experience, this is a bigger factor for very small independant shows [Off- off- off Broadway; avante-garde] more often than in organizations with volunteer staff. Vectorworx classes: A completely independant system from layers, a given symbol or group will have components in many classes. I use mine to toggle different sets of info: I print out a plot for my ME with circuits and color numbers; a version for me [ALD] with dimmer and color by name; and a version for the LD that has channel and purpose. I have other possibilities, but the plot is illegible with channel, circuit, and dimmer behind the bellcap; purpose, color by name, and color by number in front. The most common class [at least it used to be built into every drawing] is the dimensions class; dimensioning tools autimatically draw in this class. Be aware that the pull-down menu on the top of your screen is for selecting a class for your drawing and editing tools to change. The pull-down in the object info window [when an object is selected] is how one changes the class of an existing object. Such a change usually prompts me with a dialog box asking whether to change all component parts of the group/symbol, or just change the class of the group itself. If this makes any sense or helps, great; if not, I am not too surprised [I find VW very difficult to teach over the phone or email] - but you can email me directly. ---Jay Maury; Freelance Design Thunder & Lighting; Theater Production Company Fovea Floods Theater, Inc., NYC __________________________________ Celebrate Yahoo!'s 10th Birthday! Yahoo! Netrospective: 100 Moments of the Web http://birthday.yahoo.com/netrospective/ ------------------------------ Date: Mon, 07 Mar 2005 11:54:14 -0600 Subject: Giant scroll construction From: Randy Susevich Message-ID: I need to construct a giant scroll in which the visible part is 10=B9 wide x about 10=B9 tall. We are purchasing 120=B2 wide heavy weight muslin to use for the drop. I=B9m looking for suggestions on how to do the rigging (we want to control it from the stage). Our theatre is a modified thrust=8Bwe have a grid/catwalk system & no fly system, so this will be an installed, dead-hun= g rigging (I=B9ll also be rigging 2 sets of battens for snow bags!). We want the scroll to raise from the bottom roller. I=B9ve been giving it some thought, but any suggestions would be helpful! =20 Randy Susevich Adjunct Asst. Professor of Theatre Arts; Technical Director/Lighting Designer Coe College Theatre Department 1220 First Ave NE Cedar Rapids, IA 52402 Office: 319.399.8484 Fax: 319.399.8557 Cell: 319.270.6959 ------------------------------ Subject: RE: SM calls the show Date: Mon, 7 Mar 2005 12:56:38 -0500 Message-ID: From: "jknipple" As reluctant as I am to add to this thread (beating a dead horse), I feel the need to throw my support for the SM calling the show, for the simple reason that if something were to go wrong, they would be the one to have to come up with a solution. Sound might not be as big an issue as other areas like flying/moving scenery, but even lighting could be a cause for concern. If an actor is out of place and a blackout occurs, there's a risk of injury from falling off a stage, running into a wall or other actor, etc. If the operators are each following a script and not listening to the SM, that would mean that each one would have to identify the problem and come to the same conclusion at the same time. Not a risk I'm willing to take, personally. I think we've all seen times that actors were off their marks or scenery didn't work exactly right. For my money, I'd rather have a very clear structure already in place and understood and practiced. Just my 2 cents. Jim James Knipple =20 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >I believe in the SM calling the show, but have done it both ways. It mostly depends on how competent the light board op, and whether or not you can count on the same op for every show. =20 ------------------------------ Message-ID: <01f201c5233f$17cdeb10$0800000a [at] Tony> From: "Tony" References: Subject: Re: SM/Designer Relationship Date: Mon, 7 Mar 2005 17:57:09 -0000 ----- Original Message ----- From: "Bruce Purdy" > --------------------------------------------------- > > To take cues from the SM, or take your own cues? > > This whole thread, whilst interesting to read, is much like a debate > over "Which is better: a hammer or a screwdriver?" > > Every show, every venue, every company is different. To choose the > proper tool, you have to know whether you have a nail or a screw. > > Bruce > -- What an EXCELLENT analogy! Bravo, sir! Ynot ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 7 Mar 2005 13:03:49 EST Subject: Re: SM calls the show In a message dated 07/03/05 00:50:35 GMT Standard Time, bpmunroe [at] gmail.com writes: > One of the strangest shows I ever worked on had no stage manager, per > say. The Frankfurt Opera's production of John Cages's ''Europeras 1 & > 2" back in the late 80's > > Everything was cued from a time clock. Singers, musicians, props, > sound, electrics, flyrail, you name it. There were large monitors > everywhere in the theatre. In the wings, hanging from the rail, in > the booths, on the balcony rail for the singers. The monitors played > a VCR tape of a digital clock. At 1:36 this piece flew in. At 3:47 > this prop was moved. > > Really weird. As you say! I know that my views are not always orthodox, but this is beyond even me. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Mon, 7 Mar 2005 13:14:20 EST Subject: Re: SM calls the show << In a message dated 07/03/05 00:50:35 GMT Standard Time, bpmunroe [at] gmail.com writes: > One of the strangest shows I ever worked on had no stage manager, per > say. The Frankfurt Opera's production of John Cages's ''Europeras 1 & > 2" back in the late 80's > > Everything was cued from a time clock. Singers, musicians, props, > sound, electrics, flyrail, you name it. There were large monitors > everywhere in the theatre. In the wings, hanging from the rail, in > the booths, on the balcony rail for the singers. The monitors played > a VCR tape of a digital clock. At 1:36 this piece flew in. At 3:47 > this prop was moved. > > Really weird. >> Did the conductor work with a click track ? How did they account for discrepancies in the musical performance? Yes, I know it's Cage and hard ( if not impossible ) to follow, but we are talking about people potentially getting killed! FYI as a Pianist in college I performed John Cage's "Amores for Prepared Piano" In recital I once accidentally played an entire page of the third movement twice, No one noticed, , not even my piano prof! very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8b.22ad8d8d.2f5df5ca [at] aol.com> Date: Mon, 7 Mar 2005 13:22:02 EST Subject: Re: SM calls the show In a message dated 07/03/05 02:39:59 GMT Standard Time, dale [at] cybercom.net writes: > That works great, as long as you have the same operators who are with > the show. But what happens when your operator is run over by a pie truck > and is going to be in the hospital for the next few days getting his leg put > back together? (( Really happened, I was the guy they called in to cover > that week. )) It needs a carefully prepared and very clear script. The exact cue lines or actions need to be specified. I learned this in the first Little Theatre where I worked (The Caxton Players, in Grimsby) from John Abe. The stage was so small (2' wing space) that the LX OP of the night was also the SX OP, and SM, all from the lighting contol position in the OP backstage gallery. The prompter lived on the other side, and the dressing rooms were at the rear, with a screen of sacking between them and the stage. You took your own calls. I do mean the LX OP of the night, who might never have seen the show. But John's scripts were so clear and explicit that there was never a problem. The only communication device was a telephone to the House Manager, so that the operator knew when to open the curtains. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <12a.5888525f.2f5df814 [at] aol.com> Date: Mon, 7 Mar 2005 13:31:48 EST Subject: Re: SM calls the show In a message dated 3/7/05 1:23:16 PM, FrankWood95 [at] aol.com writes: << OP >> Frank, , although some of us understand the OP designation, , many "yanks" (especially the younger ones) will have no idea what you are talking about when you say OP why not elaborate on that subject for the uninitiated? very best, Keith Arsenault ------------------------------ Message-Id: Date: Mon, 07 Mar 2005 13:47:09 -0500 From: "LES LIND" Subject: Listers talents Keith wrote: FYI as a Pianist in college I performed John Cage's "Amores for Prepared Piano" In recital I once accidentally played an entire page of the third movement twice, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida Les responds: Over the years on this list I have seen little hints of what talents fellow listers posess. A bit off topic but I would be interested to know what talents some of you have. Me: I have some photographic skills. Had a professional portrait studio for nearly 10 years. Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA ------------------------------ In-Reply-To: References: Message-Id: <0316de89f5872b2df98b0298961a8c22 [at] earthlink.net> From: Jeff Forbes Subject: Re: Directors in booth Date: Mon, 7 Mar 2005 10:50:49 -0800 On Mar 7, 2005, at 3:00 AM, Stagecraft wrote: > On another note, how many people have directors going into the booth > to give > notes to the SM and ops during a performance? > (This ought to light things up!) > I can think of a few shows where we had to lock the booth door so the director couldn't get in while we were trying to run the show. One show where we told the stage door guard not to let the director into the building, And then there was a production of Chorus Line where the sound position was of course in the auditorium at the rear of the house. The most he could do when the director started giving him notes in the middle of the opening number was stick his hand out, palm outwards, and say " Talk to the hand, Joe" J Jeff A Forbes PMB 124 6820 SE Foster Rd Portland OR 97206 (503)-888-5619 www.performanceworksnw.org ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <74.4efa4bcf.2f5dfcb9 [at] aol.com> Date: Mon, 7 Mar 2005 13:51:37 EST Subject: Re: SM/Designer Relationship- longish post In a message dated 07/03/05 17:05:07 GMT Standard Time, dorian [at] essex.ac.uk writes: > A personal opinion and rambling stream of semi- conciousness only - feel > free to shoot me down.... > > Many times I have asked myself whether the principle contribution of the > operator - whether sound or light - has the role of what was called by > Bentham "organ loft or mission control - which?" and I have never found the > definitive answer. Nor I. I knew Fred Bentham, but I have always thought his 'Light Organ' concept very difficult. It really needs the designer to play it. These days, I will settle for an intelligent operator, who knows the show and its lighting. Who is prepared to say, one second into a cue: "That doesn't look right. Stop, and see what has gone wrong." For historical reasons, my scripts always include the numbers the board should be displaying, so that you can get back from a foul-up. I should also like the thank all those who, at least halfway, seem to agree with me. Both methods are viable, and one or another works best in different situations. With complex technical rigs, the centralised control is probably best. But, I don't meet that sort of thing. We don't have the capacity. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Mon, 7 Mar 2005 13:55:11 EST Subject: Re: Directors in booth In a message dated 3/7/05 1:52:01 PM, jeffforbes [at] earthlink.net writes: << I can think of a few shows where we had to lock the booth door so the director couldn't get in while we were trying to run the show. One show where we told the stage door guard not to let the director into the building, And then there was a production of Chorus Line where the sound position was of course in the auditorium at the rear of the house. The most he could do when the director started giving him notes in the middle of the opening number was stick his hand out, palm outwards, and say " Talk to the hand, Joe" >> Could be worse, A certain major US Ballet Company was performing at New York's City Center a few years ago, The Artistic Director ran down the center aisle DURING the opening night performance screaming at the conductor about the tempi. He has since retired. That shouldn' be a surprise. very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 7 Mar 2005 13:58:05 EST Subject: Re: SM/Designer Relationship In a message dated 07/03/05 17:22:42 GMT Standard Time, bpurdy [at] rochester.rr.com writes: > To take cues from the SM, or take your own cues? > > This whole thread, whilst interesting to read, is much like a debate > over "Which is better: a hammer or a screwdriver?" My old woodwork master was pedantic about this. He called a 'screwdriver' a hammer, and what we would call a screwdriver a 'screwturner'. I think he was right. Frank Wood ------------------------------ Message-ID: <422CA4BA.20607 [at] peak.org> Date: Mon, 07 Mar 2005 11:00:10 -0800 From: Pat Kight Subject: Re: Listers talents References: In-Reply-To: LES LIND wrote: > Over the years on this list I have seen little hints of what talents > fellow listers posess. A bit off topic but I would be interested to know > what talents some of you have. Me: I have some photographic skills. Had > a professional portrait studio for nearly 10 years. I act. (-: Away from the theater, I also make collages and assemblages, do some bookbinding and generally mess about with paper, paste and paint. And, of late, knit. Which I'm finding an excellent thing to do during the quiet times backstage. -- Pat Kight Albany (Ore.) Civic Theater kightp [at] peak.org ------------------------------ Date: Mon, 07 Mar 2005 14:06:20 -0500 Subject: Re: Listers talents From: Bruce Purdy Message-ID: In-Reply-To: Les Said: > Over the years on this list I have seen little hints of what talents > fellow listers posess. A bit off topic but I would be interested to know > what talents some of you have. Me: I have some photographic skills. Had > a professional portrait studio for nearly 10 years. I too owned a portrait studio for many years, although it was part time - on the side. (Following a few years travelling as a department store photographer.) I spent twenty years as a Movie Theatre manager / projectionist, and I have always been a Professional stage Magician. Did that full time for a few years, Now less often due to the time demands of the Theatre. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References:

Message-Id: <2c8b475e54dcf217a43fcd7fa3fbbb75 [at] nyu.edu> From: Mike Voytko Subject: Re: What brand of white marker (was Painting S4 Lens) Date: Mon, 7 Mar 2005 14:23:53 -0500 Sanford Uni-Paint markers are good in medium-point, with many colors to choose from. I second the Pentel 100W for wide point use. Staples.com carries both brands. HTH, Mike V. -- Mike Voytko Lighting & Sound Supervisor TSOA Theatrical Production New York University >> What brand of white marker? Every white marker I have used to date >> sucked. > > Pentel 100W White. It's actually a white enamel in a spring loaded, > felt tip marker. > ------------------------------ Message-Id: Date: Mon, 07 Mar 2005 13:28:52 -0600 From: "Merel Ray-Pfeifer" Subject: Re: Giant scroll construction Check out Roll or "Oleo" drop in the Backstage Handbook it has a pretty = good drawing. By the way did anyone miss me? Merel Ray-Pfeifer Production Manager Dept. of Theatre & Dance Millikin Univ. Decatur, IL 62522 217-424-3708 >>> rsusevic [at] coe.edu 3/7/2005 11:54:14 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I need to construct a giant scroll in which the visible part is 10=B9 wide = x about 10=B9 tall. We are purchasing 120=B2 wide heavy weight muslin to = use for the drop. I=B9m looking for suggestions on how to do the rigging (we want = to control it from the stage). Our theatre is a modified thrust*we have a grid/catwalk system & no fly system, so this will be an installed, = dead-hung rigging (I=B9ll also be rigging 2 sets of battens for snow bags!). We = want the scroll to raise from the bottom roller. I=B9ve been giving it some thought, but any suggestions would be helpful! =20 Randy Susevich Adjunct Asst. Professor of Theatre Arts; Technical Director/Lighting Designer Coe College Theatre Department 1220 First Ave NE Cedar Rapids, IA 52402 Office: 319.399.8484 Fax: 319.399.8557 Cell: 319.270.6959 ------------------------------ From: "Andy Leviss" Subject: RE: Listers talents Date: Mon, 7 Mar 2005 13:31:08 -0500 Organization: Duck's Echo Sound Message-ID: <001401c52343$d5413a90$a19afea9 [at] AndyLeviss> In-Reply-To: Bruce Purdy wrote: > I spent twenty years as a Movie Theatre manager / > projectionist, and I have always been a Professional stage > Magician. Did that full time for a few years, Now less often > due to the time demands of the Theatre. Like Bruce, I spent much of my life from the age of 8 to 18 performing magic professionally pretty much any time I wasn't in school. During the college years, magic dropped to a hobby while mentalism (spoon bending, mind reading, that sort of thing) became my main focus, and that's what I'd be doing now were I not currently doing the sound engineer thing. I'm still very involved in the magic community, having become a semi-celebrity within the community thanks to the internet over the last few years, and have a few publications and products out on the market that you can find in pretty much any magic shop in the country, and in fact in much of the world. --Andy -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.6.2 - Release Date: 3/4/2005 ------------------------------ Subject: RE: Directors in booth Date: Mon, 7 Mar 2005 14:35:02 -0500 Message-ID: From: "Mike Burnett" Since we are swapping horror stories, I had a director storm into a booth on opening night of a production (which received a huge AT&T grant...all the big-wigs were in the house) to complain about the level of a sound Q. At intermission, the op asked me if we could find someone else for the rest of the 5 week run, to which I replied "I guess." He then said that the replacement had to start with the 2nd act of that performance. Turns out that I was the replacement. Fun times. M Mike Burnett, M.F.A. Assistant Professor of Theatre Chair, Department of Theatre =20 Huntington College Honoring Christ in Scholarship and Service =20 260-359-4279 office 260-359-4249 fax =20 mburnett [at] huntington.edu www.huntington.edu/theatre I always thank God for you because of his grace given you in Christ Jesus. For in him you have been enriched in every way - in all your speaking and in all your knowledge. --1 Corinthians 1:4-5=20 "We are such stuff as dreams are made on and our little life is rounded with a sleep..." --The Tempest (IV:1, 156-157) =20 ------------------------------ Date: Mon, 07 Mar 2005 14:42:15 -0500 Subject: Re: SM calls the show From: Steve Larson Message-ID: In-Reply-To: I'm not Frank, but I believe that is "opposite prompt". Opposite side of the promptor or stage manager. Steve > From: IAEG [at] aol.com > Reply-To: "Stagecraft" > Date: Mon, 7 Mar 2005 13:31:48 EST > To: "Stagecraft" > Subject: Re: SM calls the show > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > In a message dated 3/7/05 1:23:16 PM, FrankWood95 [at] aol.com writes: > > << OP >> > > Frank, , > > although some of us understand the OP designation, , many "yanks" (especially > the younger ones) will have no idea what you are talking about when you say > OP > > why not elaborate on that subject for the uninitiated? > > very best, > > Keith Arsenault > > ------------------------------ Date: Mon, 07 Mar 2005 13:44:45 -0600 From: Chuck Mitchell Subject: RE: Giant scroll construction In-reply-to: Message-id: <001101c5234e$1d6840c0$17e25c90 [at] Chuck> Randy, Are you thinking motorized, manual, hamster driven, or what? Is the driven wheel out of sightlines? Answers to these questions and more detail will help us help you. Chuck Chuck Mitchell Scene Studio Supervisor University Theatre-University of Wisconsin Madison 608-263-3330 FAX 608-265-4075 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Randy Susevich Sent: Monday, March 07, 2005 11:54 AM To: Stagecraft Subject: Giant scroll construction For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I need to construct a giant scroll in which the visible part is 10=B9 = wide x about 10=B9 tall. We are purchasing 120=B2 wide heavy weight muslin to = use for the drop. I=B9m looking for suggestions on how to do the rigging (we = want to control it from the stage). Our theatre is a modified thrust=8Bwe have = a grid/catwalk system & no fly system, so this will be an installed, dead-hung rigging (I=B9ll also be rigging 2 sets of battens for snow bags!). We want the scroll to raise from the bottom roller. I=B9ve been giving it some thought, but any suggestions would be = helpful! =20 Randy Susevich Adjunct Asst. Professor of Theatre Arts; Technical Director/Lighting Designer Coe College Theatre Department 1220 First Ave NE Cedar Rapids, IA 52402 Office: 319.399.8484 Fax: 319.399.8557 Cell: 319.270.6959 ------------------------------ Subject: cord Date: Mon, 7 Mar 2005 14:45:07 -0500 Message-ID: From: "jknipple" I don't even know where to start looking for this, so I thought I'd come to the list first for ideas. The designer for our next production is looking to create "walls" by stretching some sort of rope or cord (1/2"-3/4" diameter) from the floor to he ceiling (only about 9'), every 1 1/2" across the back of the set. I'm estimating that I'll need almost 5000 feet of whatever I use. Ideally we'd be able to paint/stain the cord. It's not structural at all, nothing hangs off of or from it. Any ideas on where to find 5000 feet of something rather inexpensively (ideally in the $500 range, but we could probably go up to around $800 or $900). TIA, Jim James Knipple Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 ------------------------------ From: IAEG [at] aol.com Message-ID: <27.6d7a328f.2f5e0a06 [at] aol.com> Date: Mon, 7 Mar 2005 14:48:22 EST Subject: Re: SM calls the show In a message dated 3/7/05 2:45:58 PM, tiptd [at] theatreinthepark.com writes: << I'm not Frank, but I believe that is "opposite prompt". Opposite side of the promptor or stage manager. Steve >> ahhhh Steve, , don't spoil the fun! I was awaiting a beautiful explanation and a complete historical perspective from Frank! now ya done gone and spoiled it ! gosh, , shucks, , keith ------------------------------ Subject: RE: cord Date: Mon, 7 Mar 2005 11:51:24 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B7323A1F [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I can't help you with a rope source, but I've seen this done before, and = it's pretty cool. Jim Brickman ("America's Romantic Piano Sensation") = came through a couple years ago with a rig like this: 3/4" Rope on ~18" = centers. When side-lit in nice, saturated colors the ropes jumped out = like laser beams - nice low-tech effect. Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu --------------------------------------------------- I don't even know where to start looking for this, so I thought I'd come to the list first for ideas. The designer for our next production is looking to create "walls" by stretching some sort of rope or cord (1/2"-3/4" diameter) from the floor to he ceiling (only about 9'), every 1 1/2" across the back of the set. I'm estimating that I'll need almost 5000 feet of whatever I use. Ideally we'd be able to paint/stain the cord. It's not structural at all, nothing hangs off of or from it. Any ideas on where to find 5000 feet of something rather inexpensively (ideally in the $500 range, but we could probably go up to around $800 or $900). TIA, Jim James Knipple Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 ------------------------------ From: IAEG [at] aol.com Message-ID: <78.6e43ad26.2f5e0c55 [at] aol.com> Date: Mon, 7 Mar 2005 14:58:13 EST Subject: Re: cord In a message dated 3/7/05 2:52:57 PM, rstorms [at] bham.wednet.edu writes: << I can't help you with a rope source, but I've seen this done before, and it's pretty cool. Jim Brickman ("America's Romantic Piano Sensation") came through a couple years ago with a rig like this: 3/4" Rope on ~18" centers. When side-lit in nice, saturated colors the ropes jumped out like laser beams - nice low-tech effect. Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu >> Isn't this an old JOSEF SVOBODA trick? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Subject: RE: cord Date: Mon, 7 Mar 2005 15:00:52 -0500 Message-ID: From: "jknipple" That's exactly his inspiration! James Knipple =20 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 >Isn't this an old JOSEF SVOBODA trick?=20 ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 7 Mar 2005 15:10:46 -0500 From: "richard j. archer" Subject: Re: cord We've done this with flat elastic for walls (sort of the way it looks on the pictures on the cover of the old Pilbrow book). We've also use ethafoam rod for "suspension cables" for View from the Bridge. We were quite surprised the ethafoam worked so well. Have used it since again. This was thick stuff. If you want thin it might break?? Cheap, can't really paint it if you want it stretchy or don't like grey. This should present a problem for the fire marshal. Dick A TD Cornell Univ >-------------------------- > >I don't even know where to start looking for this, so I thought I'd come >to the list first for ideas. > >The designer for our next production is looking to create "walls" by >stretching some sort of rope or cord (1/2"-3/4" diameter) from the floor >to he ceiling (only about 9'), every 1 1/2" across the back of the set. >I'm estimating that I'll need almost 5000 feet of whatever I use. >Ideally we'd be able to paint/stain the cord. It's not structural at >all, nothing hangs off of or from it. > >Any ideas on where to find 5000 feet of something rather inexpensively >(ideally in the $500 range, but we could probably go up to around $800 >or $900). > >TIA, > >Jim > >James Knipple ------------------------------ Date: Mon, 07 Mar 2005 15:22:22 -0500 Subject: Re: SM calls the show From: Steve Larson Message-ID: In-Reply-To: Heck, you'll get it anyhoo! Steve > From: IAEG [at] aol.com > Reply-To: "Stagecraft" > Date: Mon, 7 Mar 2005 14:48:22 EST > To: "Stagecraft" > Subject: Re: SM calls the show > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > In a message dated 3/7/05 2:45:58 PM, tiptd [at] theatreinthepark.com writes: > > << I'm not Frank, but I believe that is "opposite prompt". > > Opposite side of the promptor or stage manager. > > Steve >> > > ahhhh Steve, , don't spoil the fun! > > I was awaiting a beautiful explanation and a complete historical perspective > from Frank! > > now ya done gone and spoiled it ! > > gosh, , shucks, , > > keith > > ------------------------------ Date: Mon, 07 Mar 2005 15:25:16 -0500 Subject: Re: SM calls the show From: Steve Larson Message-ID: In-Reply-To: Gee, it's late in Britain. Frank might already be in bed. Steve > From: Steve Larson > Reply-To: "Stagecraft" > Date: Mon, 07 Mar 2005 15:22:22 -0500 > To: "Stagecraft" > Subject: Re: SM calls the show > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Heck, you'll get it anyhoo! > > Steve > >> From: IAEG [at] aol.com >> Reply-To: "Stagecraft" >> Date: Mon, 7 Mar 2005 14:48:22 EST >> To: "Stagecraft" >> Subject: Re: SM calls the show >> >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> >> In a message dated 3/7/05 2:45:58 PM, tiptd [at] theatreinthepark.com writes: >> >> << I'm not Frank, but I believe that is "opposite prompt". >> >> Opposite side of the promptor or stage manager. >> >> Steve >> >> >> ahhhh Steve, , don't spoil the fun! >> >> I was awaiting a beautiful explanation and a complete historical perspective >> from Frank! >> >> now ya done gone and spoiled it ! >> >> gosh, , shucks, , >> >> keith >> >> > > > ------------------------------ Message-ID: <422CBD6F.4000701 [at] fredonia.edu> Date: Mon, 07 Mar 2005 15:45:35 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Giant scroll construction References: Murl, I sure did and where did you get the appendage on your last name? ;) Congratulations and best wishes. Steve Merel Ray-Pfeifer wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Check out Roll or "Oleo" drop in the Backstage Handbook it has a pretty good drawing. > > By the way did anyone miss me? > > > > Merel Ray-Pfeifer > Production Manager > Dept. of Theatre & Dance > Millikin Univ. > Decatur, IL 62522 > > 217-424-3708 > > >>>>rsusevic [at] coe.edu 3/7/2005 11:54:14 AM >>> >>> > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I need to construct a giant scroll in which the visible part is 10� wide x > about 10� tall. We are purchasing 120� wide heavy weight muslin to use for > the drop. I�m looking for suggestions on how to do the rigging (we want to > control it from the stage). Our theatre is a modified thrust*we have a > grid/catwalk system & no fly system, so this will be an installed, dead-hung > rigging (I�ll also be rigging 2 sets of battens for snow bags!). We want > the scroll to raise from the bottom roller. > > I�ve been giving it some thought, but any suggestions would be helpful! > > > Randy Susevich > Adjunct Asst. Professor of Theatre Arts; Technical Director/Lighting > Designer > Coe College Theatre Department > 1220 First Ave NE > Cedar Rapids, IA 52402 > Office: 319.399.8484 > Fax: 319.399.8557 > Cell: 319.270.6959 > ------------------------------ Subject: RE: cord Date: Mon, 7 Mar 2005 14:45:36 -0600 Message-ID: <9CBE51C748FC4E469D447D1825C64A3C0A0157 [at] COKE.uwec.edu> From: "Gulig, Arthur F." Years ago we created a wall of vertical lines by using old audio tape in 1/4" and 1/2" widths. I think we used the black although it also came in a reddish brown color. They both have both a matte side and a shinny side. Granted this is becoming more and more difficult to obtain but cost us nothing at the time. Art Arthur F. Gulig, Technical Director Music and Theatre Arts Department - HFA178 University of Wisconsin - Eau Claire 715-836-2764 agulig [at] uwec.edu -----Original Message----- The designer for our next production is looking to create "walls" by stretching some sort of rope or cord (1/2"-3/4" diameter) from the floor to he ceiling (only about 9'), every 1 1/2" across the back of the set. I'm estimating that I'll need almost 5000 feet of whatever I use. Ideally we'd be able to paint/stain the cord. It's not structural at all, nothing hangs off of or from it. ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: cord Date: Mon, 7 Mar 2005 15:49:19 -0500 I anyone in your area redoing their handlines on their counterweight system? There is a general liability to used rope that is being thrown away but if it is properly disposed of after the production I don't see an issue if you go dumpster diving. Maybe a theatre in your area is thinking about reroping the operating lines and you could chip in to help defray the cost. ------------------------------ Message-ID: <08db01c52357$a00387c0$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References:

Subject: More Stupid Things Date: Mon, 7 Mar 2005 15:35:19 -0500 This isn't my year. First the melted plug at work and now this. Wonder what's next? http://sauve.org/firedamage.htm The new fixtures look real nice, btw. ------------------------------ Message-Id: Date: Mon, 07 Mar 2005 15:57:09 -0500 From: "Ann Warren" Subject: everlasting bubbles Hello Everybody. I need to have a bathtub of bubbles go on stage. Does anyone know of any = tricks for getting a large volume of bubbles with a realatively small = volume of water. It would be awfully nice if the bubbles lasted a long = time and and if they would not cause the actor sitting in them to break = out in hives. Due to the limitations of my space, we will be filling the = tub about forty minutes before it is to be used. I would like a fairly = quiet way of introducing lots o' bubbles minutes before going onstage. = Any suggestions? I was wondering if I could use regular bubblebath with = some extra glycerine added to give it some extra oomph? Thank you for your time in this matter. Ann Warren Indiana State Universtiy=20 Theater Department ------------------------------ Message-Id: <3.0.6.32.20050307141042.016e28f8 [at] pop.west.cox.net> Date: Mon, 07 Mar 2005 14:10:42 From: CB Subject: Re: Small Detour from SM/Designer Relationship >If you're doing a live mix, you need to be in the auditorium with the >audience. Even if all you are doing is FX replay, you still need to be in the >auditorium, to hear what you are doing, and to set the levels. I once tried to do >this without an operator, and it was disastrous. However good the control room >sound feed is, and I designed ours, it's not up to this. Well, I have done a lot of a lot, and I still have my ears. I took care of them from early on, and still believe that excessive volume is usually compensating for something. I don't, however, believe that you HAVE to be in the same room to get a good mix, I just think that it is a lot easier, and, my preference. I've done mixes that I received MANY compliments for, both from a booth and with earplugs in. Once I get a mix (minimum time exposure to maximum SPL), I put the earplugs in and ride that for a few minutes. After a few minutes I can start to make adjustments based on what I have now become acclimatized to. Once you know what the room sounds like, the 'representation' made available (either through a CR system, or what it sounds like through the glass, or behind earplugs) is just a simple adjustment from that. Skilled skweeks can do it, it just sucks th have to do it. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Mon, 07 Mar 2005 16:04:05 -0500 Subject: Re: cord From: Steve Larson Message-ID: In-Reply-To: I googled cotton sash cord and found this: http://www.e-rigging.com/store_products.cfm?Subcat_ID=283&Cat_ID=50&Menu_Cho ice=Catalog 600' of 1/4" is $36.67 600' of 5/16" is $64.17 600' of 3/8" is $80.83 Hope that helps. There were lots of other sites. Steve > From: Greg Bierly > Reply-To: "Stagecraft" > Date: Mon, 7 Mar 2005 15:49:19 -0500 > To: "Stagecraft" > Subject: Re: cord > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I anyone in your area redoing their handlines on their counterweight > system? There is a general liability to used rope that is being thrown > away but if it is properly disposed of after the production I don't see > an issue if you go dumpster diving. Maybe a theatre in your area is > thinking about reroping the operating lines and you could chip in to > help defray the cost. > > > ------------------------------ Message-ID: <000901c52359$183cb3a0$6401a8c0 [at] cz1lbfinkbrlun> From: "Chad Croteau" References: Subject: Re: everlasting bubbles Date: Mon, 7 Mar 2005 16:03:19 -0500 Hi! Could you rejuvenate the bubbles by using a large aquarium air pump and a few aeration stones in the bottom of the tub? A good number of stones come with suction cups that allow you to stick them to the sides of the tank, or in this case, the tub. You could probably even find a battery powered one if the tub is on a rolling unit or something, since they exist for live-wells on fishing boats. Just a thought. Chad > I need to have a bathtub of bubbles go on stage. Does anyone know of any tricks for getting a large volume of bubbles with a realatively small volume of water. It would be awfully nice if the bubbles lasted a long time and and if they would not cause the actor sitting in them to break out in hives. Due to the limitations of my space, we will be filling the tub about forty minutes before it is to be used. I would like a fairly quiet way of introducing lots o' bubbles minutes before going onstage. Any suggestions? I was wondering if I could use regular bubblebath with some extra glycerine added to give it some extra oomph? ------------------------------ Message-Id: <3.0.6.32.20050307141713.016e28f8 [at] pop.west.cox.net> Date: Mon, 07 Mar 2005 14:17:13 From: CB Subject: SM calls the show >On another note, how many people have directors going into the booth to give >notes to the SM and ops during a performance? If there is a director's version of this sort of list, this should be forwarded. NO GOOD HAS *EVER* COME FROM THIS SORT OF BEHAVIOUR!!! At its worst, the director in the both after hour before half is going to screw up the show, confusing what has been "set in stone" in the minds of the crew with the new instructions given in a time of high stress. At best, the crew will deal with it but think you are a total noob, a total dork, or both. Hey, if you haven't figured out what you want by opening night, you need to find another way to make a living or spend your spare time. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: SM calls the show Date: Mon, 7 Mar 2005 16:17:13 -0500 Message-ID: <030201c5235b$0b27a1f0$6801a8c0 [at] Dell> In-Reply-To: > At its worst, the director in the both after hour before half > is going to screw up the show, confusing what has been "set > in stone" in the minds of the crew with the new instructions > given in a time of high stress. At best, the crew will deal > with it ...Hopefully, by consulting the stage manager or the appropriate designers to ask what *they* want done. ------------------------------ From: "Kevin Linzey" Subject: RE: cord Date: Mon, 7 Mar 2005 16:21:39 -0500 Message-ID: <009f01c5235b$a6ca0260$1101a8c0 [at] KLinzeypc> In-Reply-To: I'd make a request to your friendly rigging installer. Last time I needed a pile of non-functional rope I got old hemp rope that was removed from service. I just had to pay for the cost of shipping. Kevin > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of jknipple > Sent: Monday, March 07, 2005 2:45 PM > To: Stagecraft > Subject: cord > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I don't even know where to start looking for this, so I > thought I'd come to the list first for ideas. > > The designer for our next production is looking to create > "walls" by stretching some sort of rope or cord (1/2"-3/4" > diameter) from the floor to he ceiling (only about 9'), every > 1 1/2" across the back of the set. I'm estimating that I'll > need almost 5000 feet of whatever I use. Ideally we'd be able > to paint/stain the cord. It's not structural at all, nothing > hangs off of or from it. > > Any ideas on where to find 5000 feet of something rather > inexpensively (ideally in the $500 range, but we could > probably go up to around $800 or $900). > > TIA, > > Jim > > James Knipple > Technical Director > REP Stage - www.howardcc.edu/repstage > Student-Alumni Arts - Howard Community College > - www.howardcc.edu/studentarts > jknipple [at] howardcc.edu > 410-772-4451 > ------------------------------ From: "James Smith, www.theatrewireless.com" Subject: RE: dimming LEDs, CK patent Date: Mon, 7 Mar 2005 16:25:52 -0500 In-Reply-To: Message-Id: <20050307212558.OBTF1836.tomts16-srv.bellnexxia.net [at] p3m866> What's the patent number? I'm curious to read it myself. Jim > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Jerry Durand > Sent: March 7, 2005 12:09 PM > To: Stagecraft > Subject: dimming LEDs > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Being a Texas Instruments third-party consultant, I put a > question in to TI through my channels about dimming LEDs and > the CK patent issue (they make a LOT of the chips used in > cell phones, including the PWM LED dimmers for the backlight > and keypads). They did a quick search on the CK patents and > said this is being elevated to the legal department, they see > this as "a big issue". Be interesting to see how this turns out. > > ---------- > Jerry Durand > Durand Interstellar, Inc. > 219 Oak Wood Way > Los Gatos, California 95032-2523 USA > tel: +1 408 356-3886 > fax: +1 408 356-4659 > web: www.interstellar.com > > > > > ------------------------------ Message-ID: <422C728E.13124.1ACCF91E [at] localhost> From: "Michael Denison" Date: Mon, 7 Mar 2005 15:26:06 -0600 Subject: Re: cord Reply-To: In-Reply-To: I did this years ago for a set for Don Carlos using stretched flat elastic. Easy to mount and attach, but any air drafts will make it wiggle distractingly. 7F00,0000,0000> The designer for our next production is looking to create "walls" by > stretching some sort of rope or cord (1/2"-3/4" diameter) from the floor > to he ceiling (only about 9'), every 1 1/2" across the back of the set. Michael A. Denison Technical Director Cottey College 1000 West Austin Nevada, MO 64772 (417) 667-8181 x 2265 FAX: (417) 667-8103 mdenison [at] cottey.edu www.cottey.edu ------------------------------ Message-Id: <3.0.6.32.20050307143416.016e28f8 [at] pop.west.cox.net> Date: Mon, 07 Mar 2005 14:34:16 From: CB Subject: Re: SM calls the show John said this, "In fact, some of the tightest and most energetic shows I've ever seen came from that system. The first time someone told me that a stage manager was going to call my cues, my response was, "Over my dead body!" Well, I was the designer and also the op." ..and many other poignant and relavent things I just love it when I see someone posting just how I feel while not having the didacticity and writing skills to put them into theis type of easily understood, clear and concise.. well you know what I mean. I think I mean, uhm, "Yup!" When I designed and opped in a lil black box, and my best friend designed the lights (and opped them) and we shared a day job, the occasional girlfriend, (serially, never simultaneously), nearly identical tastes in music, office space, hairstyles, and, if common rumours were to be believed, a brain, the two of us wouldn't hear of someone trying to tell uw what to do, in or out of the booth. And if it were the designer and he were sleeping with the director for the last four years and had a close personal relationship with the rest of the crew, and I were the SM, I wouldn't think of asking them to let me tell them how or when to operate their show. Lacking that, if I were the SM, I would insist. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050307143929.016e28f8 [at] pop.west.cox.net> Date: Mon, 07 Mar 2005 14:39:29 From: CB Subject: Re: SM calls the show > I insist she calls her own show now >because I refuse to have her stand over my shoulder and tell me when to >relay the GO to the crew over headset. Give her the cans and walk away. Wait til she gets that panicked look in her eye, and then go to the bathroom. Get coffee. Check the score on the game. Go back and tell her the score, and ask her to relay it to the crew. Eventually, you'll either be fired or she'll realize that you can do the job. Its kind of up to you which of these solutions you think is better... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: everlasting bubbles Date: Mon, 7 Mar 2005 16:36:54 -0500 We used a poor man's (or in this case, woman's) add in Jacuzzi recirculator. This is a contraption that you put in your regular bathtub to make you feel like you have a Jacuzzi. The recalculating keeps the bubbles coming. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Ann Warren [mailto:thwarren [at] isugw.indstate.edu] Sent: Monday, March 07, 2005 3:57 PM To: Stagecraft Subject: everlasting bubbles For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello Everybody. I need to have a bathtub of bubbles go on stage. Does anyone know of any tricks for getting a large volume of bubbles with a realatively small volume of water. It would be awfully nice if the bubbles lasted a long time and and if they would not cause the actor sitting in them to break out in hives. Due to the limitations of my space, we will be filling the tub about forty minutes before it is to be used. I would like a fairly quiet way of introducing lots o' bubbles minutes before going onstage. Any suggestions? I was wondering if I could use regular bubblebath with some extra glycerine added to give it some extra oomph? Thank you for your time in this matter. Ann Warren Indiana State Universtiy Theater Department ------------------------------ Message-Id: <6.2.1.2.0.20050307134816.05375060 [at] localhost> Date: Mon, 07 Mar 2005 13:49:27 -0800 From: Jerry Durand Subject: Re: dimming LEDs, CK patent In-Reply-To: References:

At 01:25 PM 3/7/2005, you wrote: >What's the patent number? I'm curious to read it myself. > >Jim There's a bunch, some are: US06608453 US06788011 US06801003 US06806659 ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-ID: <422CCD7C.8050908 [at] peak.org> Date: Mon, 07 Mar 2005 13:54:04 -0800 From: Pat Kight Subject: Re: SM calls the show References: In-Reply-To: CB wrote: >>On another note, how many people have directors going into the booth to give >>notes to the SM and ops during a performance? > > > If there is a director's version of this sort of list, this should be > forwarded. > NO GOOD HAS *EVER* COME FROM THIS SORT OF BEHAVIOUR!!! Hell, I direct as often as I design, and I couldn't agree more. I explicitly give my crew permission to kick my sorry ass out of *any* non-public areas should I experience temporary insanity on a performance night and decide to intrude. By that point, it's their space and their show, not mine, and there is nothing I could possibly do that would fix anything that might go wrong during a performance. On the rare occasions when things go so badly that I can't stand to sit in the house, I can always leave the building. Heck, there's a bar at the end of the block. -- Pat Kight kightp [at] peak.org ------------------------------ From: "Ronnie Thevenot" Subject: RE: Directors in booth Date: Mon, 7 Mar 2005 15:15:50 -0700 Message-ID: <000b01c52363$3bbfd7d0$6401a8c0 [at] ronnie> As a high school student our director has more sway even after the production starts. Our show was elected to go the Arizona State Thespian Conference, and after a few disasters getting there from Tucson, we = started the show with our original sound tech running music from a PC and = another (more experienced) tech running the 8-10 lav mics. On top of the added mics, we also had changed light cues to adapt to the new space. During the show we were having a little trouble with levels at the = start. The director began yelling over the FMRS radios that we normally used to call cues. We were missing cue after cue due to him yelling and taking = over the channel. We switched to the clearcom, and literally turned off the radios. During intermission I talked to the person in charge of the space and he told us we we're doing a great job and he would have sent away our = director if he came up like he had threatened. Just thought I'd throw in my director experience. Since then I have refused to hand him a radio when passing them out. I = told him we need a spare backstage just in case the stage manager's battery = gets low or some other unforeseen thing happens. Ronnie Thevenot rkt [at] ronniethevenot.com =20 =20 ------------------------------ In-Reply-To: References: Message-Id: <8fe1591ea13eb2a7f8a1d8e1962017a9 [at] dejazzd.com> From: Greg Bierly Subject: Re: everlasting bubbles Date: Mon, 7 Mar 2005 17:23:20 -0500 I have noticed a lot of bubble makers for clubs advertised in Lighting Dimensions lately I have never used one but a brand I recall is foamdome? > Greg Bierly Technical Director Hempfield HS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 7 Mar 2005 18:12:10 EST Subject: Re: SM/Designer Relationship In a message dated 07/03/05 17:59:48 GMT Standard Time, deeming.tony [at] btinternet.com writes: > > Every show, every venue, every company is different. To choose the > > proper tool, you have to know whether you have a nail or a screw. You remind me af an SF story, about a place with superb chemists, but who have not discovered electricity. I don't remeber the title or author. One of the characters says: "It's like pulling nails with a wrench. There's a tool missing, somewhere". Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9b.5ab88610.2f5e3a69 [at] aol.com> Date: Mon, 7 Mar 2005 18:14:49 EST Subject: Re: SM calls the show In a message dated 07/03/05 18:15:36 GMT Standard Time, IAEG [at] aol.com writes: > FYI as a Pianist in college I performed John Cage's "Amores for Prepared > Piano" > In recital I once accidentally played an entire page of the third movement > twice, > > No one noticed, , not even my piano prof! Cage is like that. I have heard, or not, some of his work. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: From: Gregg Carville Subject: Re: cord Date: Mon, 7 Mar 2005 18:21:02 -0500 I did a set with bungee cord. I think we got it in bulk from Grainger or McMaster-Carr. Different diameters, lots of colors and they kept taut - which helped with the look I was going for. -Gregg On Mar 7, 2005, at 2:45 PM, jknipple wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I don't even know where to start looking for this, so I thought I'd > come > to the list first for ideas. > > The designer for our next production is looking to create "walls" by > stretching some sort of rope or cord (1/2"-3/4" diameter) from the > floor > to he ceiling (only about 9'), every 1 1/2" across the back of the set. > I'm estimating that I'll need almost 5000 feet of whatever I use. > Ideally we'd be able to paint/stain the cord. It's not structural at > all, nothing hangs off of or from it. > > Any ideas on where to find 5000 feet of something rather inexpensively > (ideally in the $500 range, but we could probably go up to around $800 > or $900). > > TIA, > > Jim > > James Knipple > Technical Director > REP Stage - www.howardcc.edu/repstage > Student-Alumni Arts - Howard Community College > - www.howardcc.edu/studentarts > jknipple [at] howardcc.edu > 410-772-4451 > > > ------------------------------ Message-ID: Date: Mon, 7 Mar 2005 18:25:52 -0500 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: SM calls the show In-Reply-To: References: > Did the conductor work with a click track ? > > How did they account for discrepancies in the musical performance? > > Yes, I know it's Cage and hard ( if not impossible ) to follow, but we are > talking about people potentially getting killed! > The time clock was the conductor! Check out this review of the show: http://pages.sbcglobal.net/jameswierzbicki/cage.htm#4 The opening sentence of the review is "IT WAS when the blimp sailed into the auditorium that everything seemed to gel" Brian Munroe ------------------------------ Subject: RE: cord Date: Mon, 7 Mar 2005 15:26:29 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B7323A22 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Good idea - I remember that keeping the lines taut was difficult with = regular 3/4" line. cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu --------------------------------------------------- >I did a set with bungee cord.=20 >I think we got it in bulk from Grainger or McMaster-Carr.=20 >Different diameters, lots of colors and they kept=20 >taut - which helped with the look I was going for. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <190.3b321057.2f5e3d4a [at] aol.com> Date: Mon, 7 Mar 2005 18:27:06 EST Subject: Re: SM calls the show In a message dated 07/03/05 18:34:04 GMT Standard Time, IAEG [at] aol.com writes: > although some of us understand the OP designation, , many "yanks" (especially > > the younger ones) will have no idea what you are talking about when you say > > OP > > why not elaborate on that subject for the uninitiated? OK. PS means Prompt Side, which is Stage Left, always, wherever the desk and prompter are to be found. OP means Opposite Prompt, or Stage Right. A Bastard Prompt means that the SM desk is actually Stage rght There is less potential for confusion, between the Director's point of view, and the SM's, and especially the actor's. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 7 Mar 2005 18:40:23 EST Subject: Re: SM calls the show In a message dated 07/03/05 20:28:15 GMT Standard Time, tiptd [at] theatreinthepark.com writes: > Gee, it's late in Britain. Frank might > already be in bed. Little chance. I'm a night owl. For me, bedtime is about one in the morning. Frank Wood ------------------------------ Message-ID: <20050307234256.47661.qmail [at] web51410.mail.yahoo.com> Date: Mon, 7 Mar 2005 15:42:56 -0800 (PST) From: Al Fitch Subject: RE: Detour from Designer SM Relationship In-Reply-To: The reason I asked the question about running from a script is because what is discussed below happens on EVERY drama production. Several student operators come up with at least one reason why they can't do at least one show for the run. I tell them to take notes during tech and leave them in the theatre because one never knows when one will be hit by a bus (a statement I picked up in Undergrad that fortunately has never come true). I'm trying to live with this fact of life and each show I get a little better at it. Yes, I have attempted to change it but so far I have not been successful. I must be doing something. Al Fitch >Which is exactly why a self-prompting operator system will usually only work in a college or community theatre environment where the run of the show is short enough so that its not too likely that the operator is going to go away. Granted, accidents can always happen, but on a long-run show, it's just about guaranteed that at least one op will drop out before the end of the run, probably more than one. < Be Kind, Smile and Have Fun. __________________________________ Celebrate Yahoo!'s 10th Birthday! Yahoo! Netrospective: 100 Moments of the Web http://birthday.yahoo.com/netrospective/ ------------------------------ Date: Mon, 7 Mar 2005 23:55:54 +0000 (GMT) From: Charlie Richmond Subject: Re: Detour from Designer SM Relationship In-Reply-To: Message-ID: References: On Mon, 7 Mar 2005, Al Fitch wrote: > be hit by a bus (a statement I picked up in Undergrad > that fortunately has never come true). But in fact, the director of Marvin's Room, who, while working on the London production, did literally get hit by a bus while dashing across the street right in front of the theatre. So it does happen. Beware of glib statement that come true... Charlie ------------------------------ Message-ID: <00a301c52378$51d35820$0800000a [at] Tony> From: "Tony" Cc: alf [at] sauve.org (Alf Sauve) References:

Subject: Re: More Stupid Things Date: Tue, 8 Mar 2005 00:46:47 -0000 Don't know why, but I can't open this, or your last link! Ynot ----- Original Message ----- From: "Alf Sauve" To: "Stagecraft" Sent: Monday, March 07, 2005 8:35 PM Subject: More Stupid Things > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This isn't my year. First the melted plug at work and now this. Wonder > what's next? > > http://sauve.org/firedamage.htm > > The new fixtures look real nice, btw. > > ------------------------------ Date: Mon, 7 Mar 2005 20:06:05 -0500 Subject: Re: cord From: Greg Williams In-Reply-To: Message-Id: <3F44070B-8F6E-11D9-9A25-000393DB9BBC [at] appstate.edu> Since I know that Bill is under the weather, perhaps I'll be forgiven for plugging Sapsis Rigging for this... (1-800-SAPSIS-1)... maybe they can steer you to a theatre that is re-roping (?) or send you in another direction entirely. Call and talk to Ildelis. If you can use something much smaller, you can get tie-line (or sash cord in white, perhaps) in 3000' rolls very cheaply. Putting it closer together (wrapping on 1x?) might achieve an acceptable effect. On Monday, March 7, 2005, at 02:45 PM, jknipple wrote: > Any ideas on where to find 5000 feet of something rather inexpensively > (ideally in the $500 range, but we could probably go up to around $800 > or $900). > -=Greg Williams=- Production Manager Valborg Theatre Appalachian State University ------We're at it again!!!------ Check out the Long Reach Long Riders cross country fund raiser for BC/EFA at http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Mon, 07 Mar 2005 20:05:19 -0500 Subject: Re: Giant scroll construction From: Bill Sapsis Message-ID: In-Reply-To: on 3/7/05 2:28 PM, Merel Ray-Pfeifer at mraypfeifer [at] mail.millikin.edu wrote: > By the way did anyone miss me? You betcha! Welcome back Ray. How's the married life? Bill www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Mon, 07 Mar 2005 20:12:36 -0500 Subject: Re: Listers talents From: Bill Sapsis Message-ID: In-Reply-To: on 3/7/05 1:47 PM, LES LIND at lindl [at] nesd.k12.pa.us wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Keith wrote: > FYI as a Pianist in college I performed John Cage's "Amores for > Prepared > Piano" > In recital I once accidentally played an entire page of the third > movement > twice, > Keith Arsenault > > IAEG - International Arts & Entertainment Group > Tampa, Florida > > Les responds: > Over the years on this list I have seen little hints of what talents > fellow listers posess. A bit off topic but I would be interested to know > what talents some of you have. Me: I have some photographic skills. Had > a professional portrait studio for nearly 10 years. > > > Les Lind, TD > NHS Dramatics > Northeastern High School > Manchester, PA > > I built high end custom furniture for a few years. Till somebody stole all (and i do mean all) of my tools. Then I went back into the theatre business. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: <422D0482.4060008 [at] fredonia.edu> Date: Mon, 07 Mar 2005 20:48:50 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Detour from Designer SM Relationship References:

And we had student LBO get hit by the campus orbit bus in Athens, GA as well. Steve Charlie Richmond wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On Mon, 7 Mar 2005, Al Fitch wrote: > >> be hit by a bus (a statement I picked up in Undergrad >> that fortunately has never come true). > > > But in fact, the director of Marvin's Room, who, while working on the > London production, did literally get hit by a bus while dashing across > the street right in front of the theatre. So it does happen. > > Beware of glib statement that come true... > > Charlie ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: cord Date: Mon, 7 Mar 2005 17:49:11 -0800 In-Reply-To: Message-ID: Dumpster diving not to be confused with Doomster Diving. Hmn. Used rope should be cut up in small six inch pieces, like the 150 pound box of rope which was sent to me some years ago after one of my workshops telling participants to cut up rope. Incidents from used rope have been noted, and deaths. Do not use the rope, is my opinion. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Bierly Sent: Monday, March 07, 2005 12:49 PM To: Stagecraft Subject: Re: cord For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I anyone in your area redoing their handlines on their counterweight system? There is a general liability to used rope that is being thrown away but if it is properly disposed of after the production I don't see an issue if you go dumpster diving. Maybe a theatre in your area is thinking about reroping the operating lines and you could chip in to help defray the cost. ------------------------------ Message-ID: <422D0632.E0FDEE6C [at] cybercom.net> Date: Mon, 07 Mar 2005 20:56:03 -0500 From: Dale Farmer Subject: Re: Listers talents References: LES LIND wrote:Les responds: > Over the years on this list I have seen little hints of what talents > fellow listers posess. A bit off topic but I would be interested to know > what talents some of you have. Me: I have some photographic skills. Had > a professional portrait studio for nearly 10 years. > > Les Lind, TD > NHS Dramatics > Northeastern High School > Manchester, PA The day job for several years was a computer network engineer/UNIX sysadmin/PBX installer. Prior to that I was a hospital corpsman in the US Navy. Was a volunteer firefighter, and I run science fiction conventions, and proofreading for NESFA Press. --Dale ------------------------------ Message-ID: <422D0885.40586398 [at] cybercom.net> Date: Mon, 07 Mar 2005 21:05:57 -0500 From: Dale Farmer Subject: Re: everlasting bubbles References: Ann Warren wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello Everybody. > > I need to have a bathtub of bubbles go on stage. Does anyone know of any tricks for getting a large volume of bubbles with a realatively small volume of water. It would be awfully nice if the bubbles lasted a long time and and if they would not cause the actor sitting in them to break out in hives. Due to the limitations of my space, we will be filling the tub about forty minutes before it is to be used. I would like a fairly quiet way of introducing lots o' bubbles minutes before going onstage. Any suggestions? I was wondering if I could use regular bubblebath with some extra glycerine added to give it some extra oomph? > > Thank you for your time in this matter. > > Ann Warren > Indiana State Universtiy > Theater Department That's what I'd do. add some glycerin to the soapy water and keep some air bubbling through it. If you have power there, then a couple of aquarium air pumps are just the ticket. IF it needs to be portable, then a bottle of compressed air with a regulator is the trick. Drain the tub and replace with fresh water solution each day, otherwise the water will become a happy breeding pond for all kinds of nastiness. --Dale ------------------------------ End of Stagecraft Digest #319 *****************************