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

Stagecraft Digest, Issue #407

 1. Re: Student designers
    by "C. Dopher" <brooklyn [at] dopher.com>
 2. Re: Student designers
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 3. Re: Student designers
    by Pat Kight <kightp [at] peak.org>
 4. Re: Student designers
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 5. Re: automatic fly systems
    by <productionmanager [at] minnesotaballet.org>
 6. Job posting Scene Designer/TD
    by Kasey Allee-Foreman <klallee [at] yahoo.com>
 7. Re: automatic fly systems
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
 8. French speaker/translator needed.
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
 9. Re: Student designers
    by Greg Bierly <gbierly [at] dejazzd.com>
10. Re: automatic fly systems
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
11. Re: automatic fly systems
    by MissWisc [at] aol.com
12. parachutes
    by "Maurice Moe Conn" <t8rtekguy [at] hotmail.com>
13. Re: parachutes
    by "Jared Clarkin" <ClarkinJ [at] newschool.edu>
14. Re: parachutes
    by "Jared Clarkin" <ClarkinJ [at] newschool.edu>
15. Re: Student designers
    by "Bill Nelson" <billn [at] peak.org>
16. Making vinyl records
    by "Matthew Breton" <theatricalmatt [at] hotmail.com>
17. Re: Making vinyl records
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
18. Re: Making vinyl records
    by MissWisc [at] aol.com
19. Re: Making vinyl records
    by MissWisc [at] aol.com
20. Re: Making vinyl records
    by Greg Bierly <gbierly [at] dejazzd.com>
21. Re: Making vinyl records
    by "Tom Heemskerk" <tommy [at] etainternet.com>
22. Re: Making vinyl records
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
23. Re: Making vinyl records
    by "Don Taco" <taco [at] peak.org>
24. Re: Making vinyl records
    by <stagecraft [at] adamb.com>
25. Re: Making vinyl records
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
26. "Prop" Trees
    by "Scheu Consulting Services" <peter [at] scheuconsulting.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.

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

Date: Tue, 24 May 2005 07:52:31 -0400
Subject: Re: Student designers
From:	"C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BEB88DBF.187FD%brooklyn [at] dopher.com>
In-Reply-To: <list-22567043 [at] prxy.net>

Charles wrote: 
>  If one 
> of the concerns for not letting students design the shows is the potential
> lack of quality, then why not make it a competition.  I have friends in
> various BFA programs where the faculty design the shows early in the
> semester.  The final show of the semester is "up for grabs".  Students
> interested in designing must submit their designs.  The faculty then pick
> the design they like best.  (Or the design that is most workable, with
> revision.)

To what extent must the design be visualized to enter the "competition"?
Sketches?  White model?  Full color model and drafting?

I'd be reluctant to put myself (if I were a student) in that situation,
because that situation is called "scenic design class".  If we're going
after a real design opportunity then perhaps the DIRECTOR should be the one
doing the picking and the designer is chosen based on his CONCEPT and
previous class design efforts (a.k.a. his PORTFOLIO).  Hm...seems I've come
across this model of choosing designers before...

Though you hated to bring the topic back up, Charles, I hate to respond to
it, but have to since this is precisely what happened to me 10 years ago.
It so happened I scored the scenic design, but it still wasn't a
good/fair/right process for choosing the designer.  The director did have
input in the final choice...and I cheated:  I sought out the director
beforehand and solicited his opinion on a couple of my ideas, then drew up
the one he and I responded to the best.  I'd do it again, of course.

Cris Dopher, LD


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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Student designers
Date: Tue, 24 May 2005 08:04:09 -0400
Message-ID: <000001c56058$c0d23f80$6601a8c0 [at] Dell>
In-Reply-To: <list-22568516 [at] prxy.net>



> I cheated:  I sought out the director 
> beforehand and solicited his opinion on a couple of my ideas, 
> then drew up the one he and I responded to the best.  I'd do 
> it again, of course.

...Which is, of course, another valuable "real life" training exercise.



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

Message-ID: <42933578.30805 [at] peak.org>
Date: Tue, 24 May 2005 07:08:56 -0700
From: Pat Kight <kightp [at] peak.org>
Subject: Re: Student designers
References: <list-22568724 [at] prxy.net>
In-Reply-To: <list-22568724 [at] prxy.net>

Jeffrey E. Salzberg wrote:

>>I cheated:  I sought out the director 
>>beforehand and solicited his opinion on a couple of my ideas, 
>>then drew up the one he and I responded to the best.  I'd do 
>>it again, of course.

> ...Which is, of course, another valuable "real life" training exercise.

My thought exactly. I wouldn't call this cheating, I'd call it an 
enterprising and professional approach, and if I were the one doing the 
grading, a student who took this approach would have a definite edge in the 
grading/competition over one who designed the set without any consultation.

-- 
Pat Kight
kightp [at] peak.org




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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Student designers
Date: Tue, 24 May 2005 10:24:07 -0400
Message-ID: <000001c5606c$420ba100$6601a8c0 [at] Dell>
In-Reply-To: <list-22570726 [at] prxy.net>

 
> if I were the one 
> doing the 
> grading, a student who took this approach would have a 
> definite edge in the 
> grading/competition over one who designed the set without any 
> consultation.

Absolutely.  Not only did it show initiative (which is one of the qualities
that differentiate the people who want to make it from the people who
actually *do* make it), but it showed an appreciation of theatre as a
collaborative art form.



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

Message-ID: <001601c56076$72bf6340$0200a8c0 [at] lpt>
From: <productionmanager [at] minnesotaballet.org>
References: <list-22567043 [at] prxy.net>
Subject: Re: automatic fly systems
Date: Tue, 24 May 2005 10:37:07 -0500
Organization: Minnesota Ballet

<Wow... Mr. Pogin, did you have a bad day with a motorized system...?>

No. I've loaded into 4 theaters that had motorized battons, and a couple of 
those theaters several times. The shows went well, and I moved on to the 
next place. I just saw some limitations that I had to work around, and 
expressed them. With the system that Greg mentioned all my concerns were 
met, but I doubt I'll be seeing this system any time soon. Sounds expensive.

<Bad allocation of limited funds IMHO>
What would be the cost difference in a traditional counterweight vrs the 
price of the motors and switch panel? I'm sure there are many variables. Can 
you say that one is cheaper than the other?

<If a theatre's only used occasionally (like for the HS drama production, 
and a few band concerts) why spend all that money? Just to accommodate the 
occasional out-of-town ballet?>

Again, I don't know the costs. I'm just speaking as an end user. However, 
just because I might be in a High School or Middle School theater doesn't 
mean that my professional quality should be less. Sometimes I have to fix 
half the equipment if I want to use it. But it is my goal to give top 
quality performances regardless if I'm in a 2,400 seat high quality venue or 
some small town HS. I think this is the hardest part of my job, and yet can 
be the most rewarding.

Besides, end user concerns are how product development improves. I think 
this topic was wonderful and I learned something to boot!

Kenneth Pogin
Production Manager
Minnesota Ballet



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

Message-ID: <20050524154252.38246.qmail [at] web51303.mail.yahoo.com>
Date: Tue, 24 May 2005 08:42:51 -0700 (PDT)
From: Kasey Allee-Foreman <klallee [at] yahoo.com>
Subject: Job posting Scene Designer/TD

There is a staff position open at the University of
Oklahoma for a Scene Designer/TD for the expanding
Opera program.  Please see the official posting at:

http://webapps.ou.edu/Jobs/viewjobs.cfm?num=11035

We are looking to hire someone fairly quickly (for
July 1st) and missed our deadline to get the ad into
Artsearch.  Please pass this on to anyone who might be
interested.

Thanks--

Kasey Allee-Foreman
Opera Costume Designer
University of Oklahoma
klallee [at] ou.edu


__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Subject: RE: automatic fly systems
Date: Tue, 24 May 2005 11:56:29 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAoAM562HwGUy9mohE6KSpPgEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-22572485 [at] prxy.net>

Kenneth Pogin wrote:

>Again, I don't know the costs.=20

A typical counterweight lineset (installed) will run $3,500 to $5,000 a =
set.

Drum style winches (properly designed) start at over $5,000 (which don't
include blocks, cables, battens, etc.). Lineshafts $13- $15K. And none =
of
this includes the electrical infrastructure (conduits, wiring, power, =
etc.)
or installation. Clancy's PowerLift and Hoffend's Vortek systems also =
fall
within these ranges.

Fancy, computerized control systems cost tens of thousands $$$'s and =
up...
Way up.

All the above are "out of my butt" estimates, but should give you an =
idea of
how much more a motorized system is than manual counterweight. 3 to 5 =
times
as much.

That's why you won't see manual counterweight sets disappearing anytime
soon.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com


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

Date: Tue, 24 May 2005 12:15:14 -0400
Subject: French speaker/translator needed.
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BEB8CB52.47C3%Herrick [at] HGLightingDesign.com>

Does anyone on this list speak fluent French? Preferably someone in the
states so my phone bill doesn't get crazy.

I need to translate a brief (4 paragraph) proposal into French and also have
someone read a document to me and give me the gist of the guidelines for a
festival I am working on.

Please contact me off list.

Thanks

-Herrick


-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



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

In-Reply-To: <list-22568724 [at] prxy.net>
References: <list-22568724 [at] prxy.net>
Message-Id: <c77b84415a35f6334bff0d5297082fb3 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Student designers
Date: Tue, 24 May 2005 12:33:40 -0400

>> I cheated:  I sought out the director
>> beforehand and
>
> ...Which is, of course, another valuable "real life" training exercise.

Unless it was expressly forbidden in the "competition" I don't see it 
as cheating.  Every participant could have gone to speak with the 
director beforehand.


Greg Bierly
Technical Director
Hempfield HS


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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: automatic fly systems
Date: Tue, 24 May 2005 10:58:36 -0700
In-Reply-To: <list-22572485 [at] prxy.net>
Message-ID: <auto-000022574891 [at] prxy.net>

My reckoning and opinion, would be that if you, as you say, have to fix your
own equipment, you are wandering, maybe even racing, into dangerous
liability territory. If the system was installed by professionals such as we
have on this web site, etc. etc. they are professionals, qualified we trust,
insured, etc. But if you repair or renovate or adjust, you become the
manufacturer and installer, and if, Lord help us, it does not occur, if some
untoward incident were to occur there is the possibility you might be in hot
water. Just an opinion. Dr. 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
productionmanager [at] minnesotaballet.org
Sent: Tuesday, May 24, 2005 8:37 AM
To: Stagecraft
Subject: Re: automatic fly systems

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

<Wow... Mr. Pogin, did you have a bad day with a motorized system...?>

No. I've loaded into 4 theaters that had motorized battons, and a couple of 
those theaters several times. The shows went well, and I moved on to the 
next place. I just saw some limitations that I had to work around, and 
expressed them. With the system that Greg mentioned all my concerns were 
met, but I doubt I'll be seeing this system any time soon. Sounds expensive.

<Bad allocation of limited funds IMHO>
What would be the cost difference in a traditional counterweight vrs the 
price of the motors and switch panel? I'm sure there are many variables. Can

you say that one is cheaper than the other?

<If a theatre's only used occasionally (like for the HS drama production, 
and a few band concerts) why spend all that money? Just to accommodate the 
occasional out-of-town ballet?>

Again, I don't know the costs. I'm just speaking as an end user. However, 
just because I might be in a High School or Middle School theater doesn't 
mean that my professional quality should be less. Sometimes I have to fix 
half the equipment if I want to use it. But it is my goal to give top 
quality performances regardless if I'm in a 2,400 seat high quality venue or

some small town HS. I think this is the hardest part of my job, and yet can 
be the most rewarding.

Besides, end user concerns are how product development improves. I think 
this topic was wonderful and I learned something to boot!

Kenneth Pogin
Production Manager
Minnesota Ballet



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

Date: Tue, 24 May 2005 13:58:38 -0400
From: MissWisc [at] aol.com
Subject: Re: automatic fly systems
Message-ID: <43681389.72F0D13F.007B9F2A [at] aol.com>

Kenneth said: <<However, just because I might be in a High School or Middle School theater doesn't mean that my professional quality should be less. Sometimes I have to fix half the equipment if I want to use it.>>

More evidence that many schools are installing or already have equipment that is beyond the needs and skills of the people using it. 

The standard single-purchase counterweight system is pretty easy to explain. Well, honestly it USED to be easy before schools started removing teter-totters from the playground. I use a pencil balanced on my finger to describe the basic movement. Then move to a small pully and finally take the kids to see a "real" theatre. 

Far too many schools are buying "state of the art" rathter than "what meet's the needs of 1) the students and 2) others who may use the facility. Where Kenneth is in the uneviable position of needing to make a profesional show work in what is often a less-than professional setting, that's part of the whole nature of touring. 

Lord bless all of you who do this on a daily basis. I'll still prefer that schools - high, middle or even college - only install what you can maintain and are willing to hire QUALIFIED employees to run.

Kristi

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

Message-ID: <BAY12-F30E24395DAE72E50751249E00D0 [at] phx.gbl>
In-Reply-To: <list-22574898 [at] prxy.net>
From: "Maurice Moe Conn" <t8rtekguy [at] hotmail.com>
Subject: parachutes
Date: Tue, 24 May 2005 19:44:37 +0000

Hey ya'll,

anyone got a good source for parachutes?  I need/want a couple Desert Storm 
issue.  The obvious is a Army Surplus, I know, but that requires a road trip 
to Knoxville, TN that is not really in the grand time plan.

TIA
Moe



We're at it again: Check out www.sapsis-rigging.com/LRLR.html
A Charity ride to help raise money for Broadway Cares/Equity Fights AIDS



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

Message-Id: <s2934c96.008 [at] igate.newschool.edu>
Date: Tue, 24 May 2005 15:47:10 -0400
From: "Jared Clarkin" <ClarkinJ [at] newschool.edu>
Subject: Re: parachutes



anyone got a good source for parachutes? =20
TIA
Moe


Check out this website.  I just ordered two parachutes from them this =
year.  Good quality and quick turnaround.


Jared


Jared Clarkin
Production Manager
Actors Studio Drama School
212-229-5859 Ext. 2627
clarkinj [at] newschool.edu


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

Message-Id: <s2934cb3.019 [at] igate.newschool.edu>
Date: Tue, 24 May 2005 15:47:50 -0400
From: "Jared Clarkin" <ClarkinJ [at] newschool.edu>
Subject: Re: parachutes



anyone got a good source for parachutes?=20
Moe

And now here is the actual address:

http://www.army-surplus.com/ss_store/index.html=20


Jared



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

Message-ID: <20020.69.59.200.119.1116973839.squirrel [at] webmail.peak.org>
In-Reply-To: <list-22573510 [at] prxy.net>
References: <list-22568724 [at] prxy.net> <list-22573510 [at] prxy.net>
Date: Tue, 24 May 2005 15:30:39 -0700 (PDT)
Subject: Re: Student designers
From: "Bill Nelson" <billn [at] peak.org>


> Unless it was expressly forbidden in the "competition" I don't see it
> as cheating.  Every participant could have gone to speak with the
> director beforehand.

Make that "should have". How can a designer attempt to fulfill the
director's vision if he/she has no idea what that vision may be?

Now, if this is a contest to see how inventive a student lighting designer
can be - and the director being willing to adapt to that vision, then this
would not be as desireable.

Bill



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

Message-ID: <BAY104-F385CD58107253243109C80DA0D0 [at] phx.gbl>
In-Reply-To: <list-22556042 [at] prxy.net>
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
Subject: Making vinyl records
Date: Tue, 24 May 2005 19:58:45 -0400

The design for our current production of "The Buddy Holly Story" calls for a 
large (10-foot diameter) vinyl record platform.  Making a circular platform 
isn't a problem. What concerns me is getting a glossy enough coating while 
still maintaining traction for the actors.

Any suggestions?


Matthew Breton
Technical Director
Seacoast Repertory Theater

========================

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
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------------------------------

Date: Tue, 24 May 2005 20:12:18 -0400
Subject: Re: Making vinyl records
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BEB93B22.7876%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-22580303 [at] prxy.net>

> The design for our current production of "The Buddy Holly Story" calls for a
> large (10-foot diameter) vinyl record platform.  Making a circular platform
> isn't a problem. What concerns me is getting a glossy enough coating while
> still maintaining traction for the actors.

The groves should provide traction - or weren't you planning to get that
detailed? ;-)

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

From: MissWisc [at] aol.com
Message-ID: <d.44f77b13.2fc51e76 [at] aol.com>
Date: Tue, 24 May 2005 20:19:02 EDT
Subject: Re: Making vinyl records

 

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

From: MissWisc [at] aol.com
Message-ID: <11.45eb2092.2fc52097 [at] aol.com>
Date: Tue, 24 May 2005 20:28:07 EDT
Subject: Re: Making vinyl records

Sorry about the empty email!

If someone is going to "design" an item, they should also give some 
suggestions for the implementation of that idea. If I design a wooden bowl, I'm not 
going to expect it to be made from glass, for example. 

If your dancers are wearing saddle shoes, traction may not be much of an 
issue. If they're wearing charactor shoes, it still may not be much of a problem 
unless you wax your vinyl - and if you do that then there are also the issues 
of how the lighting will reflect off the shiny black surface, what may be 
reflected in the surface, etc. 

SO go back to your designer and say "What did you have in mind when you came 
up with this idea? How did you picture this being made?" 

As cheap as old 33 1/3 records are now, you might even make a floor out of 
them!

Kristi

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

In-Reply-To: <list-22580303 [at] prxy.net>
References: <list-22580303 [at] prxy.net>
Message-Id: <b1c44277b3c49f793d3bea94f9bd145e [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Making vinyl records
Date: Tue, 24 May 2005 21:19:49 -0400

> "The Buddy Holly Story" calls for a large (10-foot diameter) vinyl 
> record platform.  Making a circular platform isn't a problem.

I know you said the platform is not a problem but I have to add that we 
did similar platforms for a production of Bye Bye Birdie this spring.  
Thanks to the list I made them 11'6" so I could use stock 4'x8' 
platforms (8'x8' square) as the base and then cut out 4 rounded pieces 
out of two full sheets of 3/4".  It was a very efficient design. Thanks 
to all that gave me great input.   We didn't go for the glossy vinyl 
look.  I once installed a gloss black dance floor in a theme park stage 
for a dance show.  It would give you the look you are looking for with 
a danceable surface.  Don't know if it would fit in your price range.  
Good luck


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

Message-ID: <61725.142.179.101.174.1116984281.squirrel [at] 142.179.101.174>
In-Reply-To: <list-22580571 [at] prxy.net>
References: <list-22580303 [at] prxy.net> <list-22580571 [at] prxy.net>
Date: Tue, 24 May 2005 18:24:41 -0700 (PDT)
Subject: Re: Making vinyl records
From: "Tom Heemskerk" <tommy [at] etainternet.com>

>
> The groves should provide traction - or weren't you planning to get that
> detailed? ;-)
>

Um, that would be one groove.... unless they're going to detail the B side!


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

Date: Tue, 24 May 2005 21:41:56 -0400
Subject: Re: Making vinyl records
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BEB95024.787E%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-22581814 [at] prxy.net>

>> The groves should provide traction - or weren't you planning to get that
>> detailed? ;-)
>> 
> Um, that would be one groove.... unless they're going to detail the B side!
> 
Touche'

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House





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

Message-ID: <018e01c560d2$5ff9c410$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-22580571 [at] prxy.net>
Subject: Re: Making vinyl records
Date: Tue, 24 May 2005 19:35:02 -0700


----- Original Message ----- 
From: "Bruce Purdy" <bpurdy [at] rochester.rr.com>
>> The design for our current production of "The Buddy Holly Story" calls 
>> for a
>> large (10-foot diameter) vinyl record platform.
>
> The groves should provide traction - or weren't you planning to get that
> detailed? ;-)


   If you're going for that 'level' of realism, remember to tape a quarter 
to the tonearm. 



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

Reply-To: <ab [at] adamb.com>
From: <stagecraft [at] adamb.com>
Subject: RE: Making vinyl records
Date: Tue, 24 May 2005 20:21:55 -0700
In-reply-to: <list-22580303 [at] prxy.net>
Message-ID: <auto-000022583494 [at] prxy.net>


Shellac (bully's eye perhaps)?  We use it all the time, never any slipping,
and we had a VERY steep racked stage, and it made cleanup easy (the shellac
and the rake)

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Matthew
Breton
Sent: Tuesday, May 24, 2005 4:59 PM
To: Stagecraft
Subject: Making vinyl records

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The design for our current production of "The Buddy Holly Story" calls for a

large (10-foot diameter) vinyl record platform.  Making a circular platform 
isn't a problem. What concerns me is getting a glossy enough coating while 
still maintaining traction for the actors.

Any suggestions?


Matthew Breton
Technical Director
Seacoast Repertory Theater

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Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Making vinyl records
Date: Wed, 25 May 2005 01:18:48 -0400
Message-ID: <000201c560e9$3fcd6900$6601a8c0 [at] Dell>
In-Reply-To: <list-22581814 [at] prxy.net>


> > The groves should provide traction - or weren't you planning to get 
> > that detailed? ;-)
> >
> 
> Um, that would be one groove.... unless they're going to 
> detail the B side!

...Or unless it were a BBC sound effects disk.



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Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Subject: "Prop" Trees
Date: Wed, 25 May 2005 05:36:32 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAo4WVFMHZlEShUcUQq1ht5wEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-22585861 [at] prxy.net>

I've had an inquiry as to where one might purchase LARGE "fake" trees, for
use in a store display. When I say LARGE, this is their description:

> 20 feet high - look like fully leaved out oaks - trunk diameter 12 inches
at least.

I know these would be expensive, as they must be pretty realistic. No
"thirty foot rule" here. Any ideas or sources?

Thanks in advance.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com


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End of Stagecraft Digest #407
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