Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 22643085; Fri, 27 May 2005 03:00:47 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #409 Date: Fri, 27 May 2005 03:00:28 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.3 (2005-04-27) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.3 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #409 1. Re: school theaters by Bill Sapsis 2. Re: Suspended car [at] Indy 500 - doh! by Bill Sapsis 3. National Public Radio this morning by IAEG [at] aol.com 4. Re: National Public Radio this morning by "Paul Sanow" 5. Re: Seat number plaques... by John McKernon 6. Re: National Public Radio this morning by IAEG [at] aol.com 7. Technical Theatre Safety Manual Needed by "Carolyn Giles" 8. Re: Seat number plaques... by "Paul Schreiner" 9. Re: school theaters by "Bill Conner" 10. Re: Seat number plaques... by "Bill Conner" 11. Job Posting by "Ehrenberg, Steven" 12. Re: Job Posting by "Sam Fisher" 13. Re: Making vinyl records by Greg Bierly 14. Re: Technical Theatre Safety Manual Needed by Chris Rovers 15. Re: Seat number plaques... by Scott Spidell 16. Prop masters beware (light saber- how stuff works) by Herrick Goldman 17. Re: automatic fly systems by Stephen Litterst 18. Re: Technical Theatre Safety Manual Needed by "Secore, Scott" 19. Re: Technical Theatre Safety Manual Needed by Seth Richardson 20. Free FAX Machine by "Jeffrey E. Salzberg" 21. Patch boxes by CB 22. Re: Making vinyl records by CB 23. Re: Seat number plaques... by CB 24. Re: automatic fly systems by CB 25. Light control film by Michael Heinicke 26. Stage Manager grading rubric by jonares [at] hevanet.com 27. refurbished theatre seats by "David R. Krajec" 28. Re: Job Posting by "Bill Nelson" 29. Another Job by Stan Jensen 30. Re: refurbished theatre seats by "ladesigners [at] juno.com" 31. Re: Student designers by FrankWood95 [at] aol.com 32. Re: Patch boxes by FrankWood95 [at] aol.com 33. Re: French speaker/translator needed. by FrankWood95 [at] aol.com 34. Re: Patch boxes by "Tony Deeming" 35. Re: Light control film by Greg Bierly 36. Re: Patch boxes by Greg Bierly 37. Re: Patch boxes by "Tony Deeming" 38. Re: Light control film by Michael Heinicke 39. please send emails of past digests - 400 through 405 by "Riter, Andrew (Head Ltg)" 40. Re: Technical Theatre Safety Manual Needed by "James, Brian" 41. Re: Patch boxes by Greg Bierly 42. Re: Prop masters beware (light saber- how stuff works) by Greg Bierly 43. Re: Prop masters beware (light saber- how stuff works) by Greg Bierly 44. Re: Technical Theatre Safety Manual Needed by b d 45. Re: please send emails of past digests - 400 through 405 by Noah Price 46. Re: Patch boxes by "Bill Nelson" 47. Re: Patch boxes by "Bill Nelson" *** 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: Wed, 25 May 2005 19:25:00 -0400 Subject: Re: school theaters From: Bill Sapsis Message-ID: In-Reply-To: I don't normally go in for "agreement" emails, but this one deserves it. The quote below is exactly right. The right TD can take a box of toothpicks and make a great show while a crappy one couldn't do it with all the equipment that Cirque has. Hmmmmmmmmmmm. Training just might be the issue here. Ya think? 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 on 5/25/05 12:26 PM, productionmanager [at] minnesotaballet.org at productionmanager [at] minnesotaballet.org wrote: > A theater space is only as good as the people that run it. ------------------------------ Date: Thu, 26 May 2005 01:39:22 -0400 Subject: Re: Suspended car [at] Indy 500 - doh! From: Bill Sapsis Message-ID: In-Reply-To: Apples and oranges. The White House is an amazing place to be/work in. They treat you like royalty there. And the history of the place gets to you right away. The Indy stunt was done by my head rigger, Mike Sapsis (my brother). I wasn't there so I'm living vicariously on this one. But it was very, very cool to get the phone call last night that said...It's up and all is well. Then I started breathing again. 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 on 5/25/05 8:56 PM, Greg Williams at gwilliams [at] appstate.edu wrote: > So Bill, what's more satisfying... hanging a car 21 stories up on the > side of a building, or hanging with the First Dog at the White House? ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 26 May 2005 08:06:01 EDT Subject: National Public Radio this morning I am listening to an NPR MORNING EDITION story this morning on various legal issues regarding non traditional casting, , non traditional productions of licensed productions, , something that we have discussed here on the list on a number of occasions. I suspect that this story will be available as a "pod cast" or some sort of download at the NPR web site. (it's not there yet) I highly recommend it, especially for our HS and College list members, very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Subject: RE: National Public Radio this morning Date: Thu, 26 May 2005 08:14:35 -0400 Message-ID: From: "Paul Sanow" > I am listening to an NPR MORNING EDITION story this morning=20 > on various legal=20 > issues regarding non traditional casting, , non traditional=20 > productions of=20 > licensed productions, ,=20 >=20 > something that we have discussed here on the list on a number=20 > of occasions.=20 >=20 > I suspect that this story will be available as a "pod cast"=20 > or some sort of=20 > download at the NPR web site. (it's not there yet) NPR makes the show available after the last broadcast on the satellite; = I think after Pacific stations run the program. I don't think they hold = it for Hawaii. You can stream it then. Try around noon or 1pm EDT. Paul=20 ------------------------------ Date: Thu, 26 May 2005 08:25:31 -0400 Subject: Re: Seat number plaques... From: John McKernon Message-ID: In-Reply-To: > While I appreciate the advice, I said they MUST go on the arms. As I > reiterated in my response to another suggestion - they must go on the arms. > There is no surface where you indicate that will accept a plaque! A lot of the Bway theaters have the seat numbers on the arms, all I would suggest is could there be a highly visible arrow pointing towards the seat that the number applies to? Even after years of dealing with these kinds of labels, I still get confused about *which* seat the number applies to...:( - John ------------------------------ From: IAEG [at] aol.com Message-ID: <209.1c92f18.2fc71c91 [at] aol.com> Date: Thu, 26 May 2005 08:35:29 EDT Subject: Re: National Public Radio this morning In a message dated 5/26/05 8:15:19 AM, psanow [at] vls.com writes: << > I am listening to an NPR MORNING EDITION story this morning > on various legal > issues regarding non traditional casting, , non traditional > productions of > licensed productions, , > > something that we have discussed here on the list on a number > of occasions. > > I suspect that this story will be available as a "pod cast" > or some sort of > download at the NPR web site. (it's not there yet) NPR makes the show available after the last broadcast on the satellite; I think after Pacific stations run the program. I don't think they hold it for Hawaii. You can stream it then. Try around noon or 1pm EDT. Paul >> there ya go folks, , , the info ya need!, , for everyone who has had questions about non traditional casting etc I HIGHLY recommend you listen to this story later today at www.npr.org what's the current phrase? " you think you know, but you have no idea" , , , , something like that, , very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-id: Date: Thu, 26 May 2005 08:44:17 -0400 Subject: Technical Theatre Safety Manual Needed From: "Carolyn Giles" Hi: I am currently planning for a technical theatre safety orientation for middle and high school students in the fall and am in need of a manual that anyone would be willing to share. A digital version is preferable. A hard copy can be faxed - 513-527-1304 or mailed to me at: Carolyn E. Giles Chair, Fine and Performing Arts The Seven Hills School 5400 Red Bank Road Cincinnati, OH 45227 513-272-5390 Thanks in advance, Cg ------------------------------ Subject: RE: Seat number plaques... Date: Thu, 26 May 2005 08:50:55 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C825 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I would also suggest you NOT put them on the arms where they=20 > run the risk of snagging clothing, scratching arms, and so=20 > on. The front middle edge of the seat IMHO is the best place=20 I agree. I always found it confusing to have the seat number on the arm...which seat does the arm refer to? ------------------------------ Message-ID: <000501c561f4$d0cb0e10$5701a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" References: Subject: Re: school theaters Date: Thu, 26 May 2005 08:14:13 -0500 I plead guilty to the alledged crime of over equipping high school theatres. I'm thrilled that so many of them have become community performing arts centers where once a poorly equipped p.o.c auditorium served. I'm especially guilty of daring to dream that there is a need for quality performing arts spaces in communities and that "if you build it they will come". And a lot of them do have tech directors - some a a result of my spending time over a prolonged period educating the administrators of the need for this staff position. (It's gratifying to read a few practioners here validate having a trained staff person is a much greater contribution than whether the lighting system is ETC or Strand.) Considering the life of the building is probably 50 or more years and the major systems 20 to 40 years, I'm proud of being guilty of planning for the years ahead rather than the years past and for thinking that a quality space will flourish with activity even if some of you think it won't in your commnity or perhaps shouldn't. My victims mostly thank me and recommend me to their colleauges. With conviction, Bill ------------------------------ Message-ID: <000b01c561f6$675574f0$5701a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Seat number plaques... Date: Thu, 26 May 2005 08:25:36 -0500 Perhaps I missed this but I would recommend that retrofit tags in the arms be recessed. If they are round it should be possible to use a plunge router so that they can be recessed in the wood arm. his will make them much more likely to not be picked off regardless of the adhesive. Orientation will be tough but I would make them correct reading from standing in front of the chair - perhaps angled to that position. I'd really want to look at that in place so I could take into account all the variables. House managers and ushers tell me that aisle row identification should be designed for the usher to see it in the dark - either with a flashlight or illuminated itself., and not be on the arm because it can be blocked if the end seats is occupied. Even an extra identification of the row stenciled on the floor is a help. The Broadway numbering style of odd-evens to the sides and 101 and up in the center is not intuitive but seems to work. I think the important part is a consistency in varying length rows of coming as close to possible to having all seats on an aisle be the same number. And a question: how do others deal with numbering wheelchair spaces? I usually allow for it in the seating system but don't ask for tags on the space. Where there is routine infill seating it's especially difficult since a pair of wheelchairs is replaced by three seats. Regards, Bill ------------------------------ Subject: Job Posting Date: Thu, 26 May 2005 08:38:14 -0500 Message-ID: <95E1F758C14A0248B42D6FC9D67C7C32032DEB1C [at] CCUMAIL14.usa.ccu.clearchannel.com> From: "Ehrenberg, Steven" I am forwarding this Job Posting out to al of you. This is an excellent opportunity for someone among us. I am forwarding this for the Director of Production at the Broward Center. I am not involved in this job search, but I will answer any questions I can if you email off list. Back to being spun off, re-organized and restructured. Steven Steven Ehrenberg=20 Director of Technical Supervision=20 Clear Channel Entertainment - Theatrical=20 220 W 42nd St. 14th floor NY, NY 10036=20 Office 917 421 5461=20 Mobile 917 331 0207=20 JOB POSTING Broward Center for the Performing Arts Fort Lauderdale, Florida Production Coordinator The Broward Center for the Performing Arts located in downtown Fort Lauderdale, Florida is seeking a Production Coordinator. This position requires coordinating, executing and overseeing all production and technical aspects of events throughout the facility and will provide customer service to ensure a positive experience for all associated companies, artists, and users with event. The Production Coordinator will report directly to the Director Of Production Services. =20 General duties and responsibilities include, but are not limited to:=20 Supervise union crew (create and disperse staging information, scheduling, implement union contract and proactively handle any union issues and concerns.)=20 Advance all technical logistics for performances and events (carpentry, rigging, electrics/lighting, audio, contract/technical riders.)=20 Communicate directly with artists and their managers.=20 Provide administrative support and organize production needs for all shows and events that are scheduled in the facility (transportation, hospitality, payroll processing, ordering equipment and supplies, scheduling,...)=20 Stage-manage theater productions, as needed.=20 Prepare invoices for: rental equipment, in-house equipment, and labor to create production settlement.=20 Required Skills and Experience:=20 Must have in-depth experience and knowledge of theater lighting design (read a light plot, must be familiar with Light Wright, work with a reparatory light plot.)=20 Able to work nights, weekends, and holidays.=20 Able to prioritize, multi task and function in a fast paced environment. Ability to move heavy equipment regularly (lift and carry up to 25 pounds).=20 Excellent computer skills (Excel, Outlook, Word, PowerPoint).=20 5 - 7 years event management experience.=20 Have good customer service and communication skills.=20 Have a vehicle and good driving record.=20 College degree preferred.=20 If you are an individual with outstanding skills who is eager to become part of a progressive, performance oriented team, please submit a resume by June 20, 2005, list of references (3 minimum), and salary history to: pcsearch [at] browardcenter.org or by mail to: Broward Center for the Performing Arts, 201 Southwest Fifth Avenue, Fort Lauderdale, Florida 33312-7112 Attn: PC Search (Resumes should be Word document attachment to e-mail, or mail only please). Preference will be given to local applicants. No Phone Calls Please. PACA encourages minority participation and is an Equal Opportunity Employer. =20 ------------------------------ From: "Sam Fisher" Subject: RE: Job Posting Date: Thu, 26 May 2005 09:52:38 -0400 In-Reply-To: Message-ID: "Ability to move heavy equipment regularly (lift and carry up to 25 pounds). " Since when is 25 pounds heavy equipment, just curious. Sam Fisher ------------------------------ In-Reply-To: References: Message-Id: <4d2273ca5e8fe1eb85eabc99e98478e9 [at] dejazzd.com> From: Greg Bierly Subject: Re: Making vinyl records Date: Thu, 26 May 2005 10:23:32 -0400 > Greg, thanks for the reminder about platform diameters -- I had > actually started to dig up those old emails to get the specific > dimension. Thanks for saving me the hard work :) Matt, just be aware that for a 8'x8' stock platform the exact diameter is 11.31 feet (that darn clever Pythagorus). For us 11'4" was close enough. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: Date: Thu, 26 May 2005 10:37:38 -0400 From: Chris Rovers Reply-To: Chris Rovers Subject: Re: Technical Theatre Safety Manual Needed In-Reply-To: References: > I am currently planning for a technical theatre safety orientation for > middle and high school students in the fall and am in need of a manual > that anyone would be willing to share. A digital version is preferable. > A hard copy can be faxed - 513-527-1304 or mailed to me at: If anyone would like to make that available, I'd love a copy. Chris ------------------------------ Message-Id: <5.1.0.14.0.20050526103449.00c51f90 [at] watarts.uwaterloo.ca> Date: Thu, 26 May 2005 10:46:30 -0400 From: Scott Spidell Subject: Re: Seat number plaques... In-Reply-To: At 06:00 AM 5/26/2005, Steve Jones wrote: >2) We are using engraved brass plaques and will NOT be screwing them down. >Any recommendations for an adhesive? I had the same issue and phoned 3M. They make a double-sided tape that holds the wings on one of the Airbus planes. I got one slightly less permanent. Some of the original plaques used screws and because of the soft brass, the screw heads got spurs during the install and kept catching people's clothes. >3) Placement - which arm of the chair does a plaque get placed on - the >right or the left as you sit in the seat? I would suggest they should be placed on the far arm from the aisles - switching at the centre. >4) What orientation should plaques be? So they can be read as you come >down the aisle? The text should face the seat it represents. If the text faces the stage, how do you remember which arm the plaque is on? HTH, Scott ------------------------------ Date: Thu, 26 May 2005 10:58:03 -0400 Subject: Prop masters beware (light saber- how stuff works) From: Herrick Goldman Message-ID: The prop you make in 1977 may grow to be reality. Or at least get added to and expanded upon. I need one of these around the shop. They'd be great for the C- clamps that the locking nut is sheared off of. Funny you never see Obi-Wan lighting up after a heated battle by using his Saber. What a great idea.... -- 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 ------------------------------ Date: Thu, 26 May 2005 11:16:07 -0400 From: Stephen Litterst Subject: Re: automatic fly systems Message-id: <4295E837.26156D4 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Bill Nelson wrote: > --------------------------------------------------- > It is not really that the system has technology beyond the needs/abilities > of the users. The problem is that Strand does not seem capable of making a > light board that is user friendly. As with every console, it depends on the user. The only Strand console I've had problems using as soon as I sat down was the infamous Lightboard M. (If that was what they released, ever wonder what was wrong with lightboards A-L?) I've had pretty good luck with the 420 (no longer in production) and the 300. Of course, my students got great enjoyment out of my stumbling over the ETC Express when I tried to teach it in class, since I hadn't used one in years. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: Technical Theatre Safety Manual Needed Date: Thu, 26 May 2005 11:23:09 -0400 Message-ID: <346414591B50EE4299DB6686321B8CC701D2928A [at] FACSTAFF.facultystaff.eku.edu> From: "Secore, Scott" Cc: crovers [at] gmail.com (Chris Rovers) I second that motion. -Scott TTS EKU Theatre=20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Chris Rovers Sent: Thursday, May 26, 2005 10:38 AM To: Stagecraft Subject: Re: Technical Theatre Safety Manual Needed For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > I am currently planning for a technical theatre safety orientation for > middle and high school students in the fall and am in need of a manual > that anyone would be willing to share. A digital version is preferable. > A hard copy can be faxed - 513-527-1304 or mailed to me at: If anyone would like to make that available, I'd love a copy. Chris ------------------------------ Date: Thu, 26 May 2005 11:46:52 -0400 Subject: Re: Technical Theatre Safety Manual Needed From: Seth Richardson In-Reply-To: Message-Id: <615F6A1D-CDFD-11D9-BE30-00050201851C [at] adelphia.net> Try http://www.shape.bc.ca/resources/publications.html SethR- On Thursday, May 26, 2005, at 11:23 AM, Secore, Scott wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I second that motion. > > -Scott > TTS > EKU Theatre > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Chris > Rovers > Sent: Thursday, May 26, 2005 10:38 AM > To: Stagecraft > Subject: Re: Technical Theatre Safety Manual Needed > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> I am currently planning for a technical theatre safety orientation for > >> middle and high school students in the fall and am in need of a manual > >> that anyone would be willing to share. A digital version is > preferable. >> A hard copy can be faxed - 513-527-1304 or mailed to me at: > > If anyone would like to make that available, I'd love a copy. > > Chris > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: Free FAX Machine Date: Thu, 26 May 2005 13:29:25 -0400 Message-ID: <001501c56218$79cf8ef0$6601a8c0 [at] Dell> In-Reply-To: I have a FAX machine free to the first person who wants to come pick it up. It doesn't transmit well (It has a bad spot in the video scanner) but it receives just fine, as evidenced by the large number of unsolicited faxes I get offering me time shares, home refinancing, and...er...anatomical enhancements. Located in Secaucus, just outside the Lincoln Tunnel. If interested, please email jeff [at] jeffsalzberg.com. ------------------------------ Message-Id: <3.0.6.32.20050526115042.016fe5e8 [at] pop.west.cox.net> Date: Thu, 26 May 2005 11:50:42 From: CB Subject: Patch boxes >It needs to be lock-able (for obvious reasons!) and be big enough to cope >with 19 XLR/Jack sockets plus a couple of phono's for video feed/return. What you need, Tony, is a multi-pair connector that you can hide in a very small box, and a 24 pr plus video etc. on tails. that wasy, you can drop the very same thing anywhere for the cost of cable and a connector anywhere in the building, and have the thing look nice when its gone. 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: <3.0.6.32.20050526115929.016fe5e8 [at] pop.west.cox.net> Date: Thu, 26 May 2005 11:59:29 From: CB Subject: Re: Making vinyl records >> If you're going for that 'level' of realism, remember to tape a quarter >> to the tonearm. > >Sure if you only want to be able to listen to it a few times! Start >smaller,a few papaer clips or a dime maybe. *Sigh* The tonearm holds tha cartridge which contains the needle. The quality of the resulting sound depends almost entirely (note that 'almost' does not mean 'entirely', for those of you who wish to pick nits) onthe quality of these two items. The rest fo the contraption is just to make the record dizzy. As long as it gets fairly close to the required RPM, and somewhat isolates the cartridge from ambient vibrations, it'll suffice. Learning to properly balance a tonearm is the key to making adequate parts produce better than adequate results, and great parts produce heavenly results. I know, I know, you guys are just kidding, but I did want to point out that a dime on the tonearm is a repair akin to a penny in the fusebox. 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: <3.0.6.32.20050526120634.016fe5e8 [at] pop.west.cox.net> Date: Thu, 26 May 2005 12:06:34 From: CB Subject: RE: Seat number plaques... >> 1) We are putting both the row letter and the seat number on >> each plaque, separated by a space (no hyphen) to try to help >> patrons remember what row they are in when seat hunting. > >Then don't have a row "I" (eye), or the seats will all be perceived as >"11...12...13...." As we do in Film sound, there are no 'I' takes, and no 'O' (aye and oh) takes, as the may read as one and zero. And, you'll want the plaques on the back of the seat, facing forward. They shouldn't be so large as to be uncomfortable, especially if they are in the border around the padding. 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: <3.0.6.32.20050526121651.016fe5e8 [at] pop.west.cox.net> Date: Thu, 26 May 2005 12:16:51 From: CB Subject: Re: automatic fly systems > it is a given that this likely means I am condemned to >having to perpetually oversee this space because it wasn't made simpler for >those constantly using it. Ehm, you are a volunteer at this point. As long as you keep answering the emergency calls and solving their problems, they have no problems. What SHOULD be happening is a TD search, but as long as you're filling the spot for free, there won't be one. 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: <20050526194702.27583.qmail [at] web81701.mail.yahoo.com> Date: Thu, 26 May 2005 12:47:02 -0700 (PDT) From: Michael Heinicke Subject: Light control film In-Reply-To: 6667 I am looking for a material and I am hoping that someone on the list might be able to help me out of my dead end. I am looking to purchase a small quantity of 3M's Slanted Light Control Film. It is a plastic sheet with microlouvers embedded inside. It is used to direct light in a certain direction. 3M sells this product in case quantities, but I only need a few pieces. According to the person I have been in touch with at 3M, only one company purchases it to resell in smaller amounts. Of course they don't carry the particular version that I need. So far I have been unsuccessful locating another source through web searches. My hope is that someone on the list will be familiar with this or a similar product and can help me out. TIA, Mike H ------------------------------ Message-Id: <200505261955.j4QJtxq96166 [at] pop.hevanet.com> From: jonares [at] hevanet.com Subject: Stage Manager grading rubric Date: Thu, 26 May 2005 19:55:59 GMT Does anyone have/use an effective SM rubric? Or, conversely, I'm opening it up to anyone who might have an effective question or two to put on a rubric? Such as: Effective communication skills, Ability to deal with changes by the director, etc. TIA... - Jon Ares ------------------------------ Reply-To: From: "David R. Krajec" Subject: refurbished theatre seats Date: Thu, 26 May 2005 15:08:16 -0500 Message-ID: In-Reply-To: OK, I know that Doom is either a: lurking or b: moving, but I'll venture a question here about the seats. Don't all modern seats have to come up when you drag your butt out of that seat? If that is the case, wouldn't the refurbished seats have to meet that criteria as well? Or, are they grandfathered in? If the refurbished seats have to meet modern safety criteria, they could be refurbished with a fastening place on the front of the seat for the numbering. As far as numbering goes, let's really challenge our audiences (and ushers) and assign the seats random numbers!! That would be a lot of fun to watch (for about one show). ;>) David K. ------------------------------ Message-ID: <21691.69.59.200.119.1117137969.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Thu, 26 May 2005 13:06:09 -0700 (PDT) Subject: Re: Job Posting From: "Bill Nelson" > "Ability to move heavy equipment regularly (lift and carry up to 25 > pounds). " > > Since when is 25 pounds heavy equipment, just curious. Since OSHA started defining terms? Or maybe a union definition? Bill ------------------------------ In-Reply-To: References:

Message-Id: From: Stan Jensen Subject: Another Job Date: Thu, 26 May 2005 16:29:39 -0400 The search committee chair asked me to post this. It is a pretty good=20 job, actually...not a design position...strictly stagecraft and some=20 teaching: Coordinator Theater Production (Technical Director) =96 Central Michigan=20= University seeks applications for full time, twelve month, Professional=20= Administrative staff position as Technical Director of the Theatre.=20 Begin: August 2005. The University Theatre program produces five=20 mainstage productions and one dance concert during the academic year.=20 In the summer months, three productions play in repertory both on and=20 off the CMU campus. Responsibilities: To administer and oversee the=20 technical areas of theatre production for a year-round multi-facility=20 production program including responsibility for a substantial=20 production budget; to supervise and evaluate student employees,=20 production crews and shop laboratories; to teach undergraduate studio=20 courses in appropriate production areas, and other courses in technical=20= theatre as needed. The position will require some evening and weekend=20 duties associated with production rehearsals and performances.=20 Qualifications: MFA in Technical Theatre or equivalent professional=20 experience; experience in technical direction and teaching desired;=20 background shall include the following: stage rigging, properties,=20 stage lighting, metals, plastics, carpentry, computer literacy, and a=20 willingness to explore new materials and technologies. Preferred=20 candidates will also have experience in sound production and CAD=20 (Vectorworks preferred). All applications must be submitted=20 electronically at: https://www.jobs.cmich.edu (follow the links: Search=20= Staff Postings---->Job Title----> Coordinator Theater Production). For=20= more information contact: Dr. Rhona Justice-Malloy, Director of=20 University Theatre, Department of Speech Communication and Dramatic=20 Arts, Central Michigan University, Mt. Pleasant, MI 48859, (989)=20 774-7892 or (989) 774-3177, e-mail: justi1rd [at] cmich.edu. CMU, an AA/EO=20 institution is strongly and actively committed to increasing diversity=20= within its community (see http://www.cmich.edu/aaeo). Stan Jensen Central Michigan University Department of Speech Communication and Dramatic Art Moore 242 Mount Pleasant, MI 48859 (989) 774-1990 office (989) 774-2498 fax ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 26 May 2005 20:34:37 GMT Subject: Re: refurbished theatre seats Message-Id: <20050526.133527.708.105498 [at] webmail01.lax.untd.com> Yes, even really old seats are supposed to be 'self rising', or the back-to-back spacing must be significantly greater than the minimal 34" that we all are used to. There appears to be some artificial constraint imposed in the seat numbering problem here: There are always ways of solving the seat numbering dilemma presented, even if someone had to resort to pop rivets, hot glue, fabric numbering tags, or something else. It is the simple fact that people do frequently renumber refurbished seats that appear to be completely covered with padding and fabric. There is no reason to reinvent the wheel,IMHO. /s/ Richard Don't all modern seats have to come up when you drag your butt out of that seat? If that is the case, wouldn't the refurbished seats have to meet that criteria as well? Or, are they grandfathered in? If the refurbished seats have to meet modern safety criteria, they could be refurbished with a fastening place on the front of the seat for the numbering. David K. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1ef.3cad4bc6.2fc793aa [at] aol.com> Date: Thu, 26 May 2005 17:03:38 EDT Subject: Re: Student designers In a message dated 5/25/05 2:42:37 PM W. Europe Daylight Time, paul.guncheon [at] verizon.net writes: << Something is really wrong with an educational environment that makes conferring with the director appear to be "cheating". Discussing the script with the director is one of the crucial first steps in the process. I will usually read the script at least once... preferably two or three times before talking to the director. I will then reread it two or three times more... making notes on stage directions. I normally ignore those in the script. >> Very wrong, in any environment. Staging a show is a team effort, and the director is the team leader. If, of course, he is competent. If not, you probably have a disaster on your hands.This goes for all the department heads, too. I can remember a few times whan we have had to put in place a rescue package. I think that this is easier for an amateur organisation than for a professional one. In the latter case, there are contractual obligations to be considered. I agree with ignoring the stage directions in the script, unless it's a play by G. B. Shaw. He knew what he wanted to see. Most others are designed to replicate a particular production. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <20.45a6b1cc.2fc793ad [at] aol.com> Date: Thu, 26 May 2005 17:03:41 EDT Subject: Re: Patch boxes In a message dated 5/25/05 12:47:22 PM W. Europe Daylight Time, deeming.tony [at] btinternet.com writes: << I had thought maybe of a mains distro box shell with a custom made panel rivetted on, but if anyone knows of a suitable (UK supplied) option I'd be interested to hear. >> See what RS Components has to offer, or Farnell. I am long enough out of the business not to have current catalogues. For custom panels, consider having the connectors inclined at 45 or 60 degrees. This will save a lot of space. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 26 May 2005 17:44:07 EDT Subject: Re: French speaker/translator needed. In a message dated 5/25/05 11:39:33 PM W. Europe Daylight Time, deeming.tony [at] btinternet.com writes: << Frank - word of friendly advice.... DITCH AOL! Wipe it all off your PC (s) and load something a little more friendly!! I tried AOL once and it screwed half my PC's settings - had to completely rebuild it! Never again!! >> It has its disadvantages, true. What doesn't? It also has advantages. I can retrieve my mail from my own address whether I am in England or in France, where I spend much of the summer. The subscription I have has no time element in it. Now that I have restored an old version, I can once again reply to the list. The only programme which I have ever met which screwed things up was a long time ago. How long you can judge when I say that it was Quick Basic running on an Amstrad 640. For some reason, it made the DOS clock run at one third speed, and left it there when you left the programme. That was one reason why I wrote, in Pascal, a menu programme which created DOS batch files to enter and exit all the software. This taught me a lot about screen interfacing, and economical memory usage. Alas, I have no use for these lessons now. Windows provides the GUI, and modern machines have huge memory, with which Windows is extravagant. ------------------------------ From: "Tony Deeming" Subject: RE: Patch boxes Date: Thu, 26 May 2005 23:21:35 +0100 Message-ID: In-Reply-To: What you need, Tony, is a multi-pair connector that you can hide in a very small box, and a 24 pr plus video etc. on tails. that wasy, you can drop the very same thing anywhere for the cost of cable and a connector anywhere in the building, and have the thing look nice when its gone. Chris "Chris" Babbie Unfortunately, that's not the case. We've already had a couple of shows where this room's been used for band location, and by necessity they've done just that - and the 'portable' multicore has had to run from the patch bay, out the door of the sound room, round the outside of the sound room (the larger part of the booth proper) doubling back on itself, out the main door of the booth, across the top of the control area steps (safely under the step, I hasten to say), down to the bottom of the dogleg stairs and under/across the bottom step, through the secure 'technical area' door there, 90 degree left turn, up 8 steps, across the bottom of the top step, across the office door (normally unused during shows), through the door to the band room and there you have it! Does that sorta tell you why I'd like to put a fixed multicore in instead....? 8-))) 8-((( It's always been installed with safety in mind, BUT it's a pain, it interferes with doors (both security and FR) so it has to have a disconn point so it can be cleared each night) and there's always copious amounts of gaffer holding it wherever, and I HATE gaffer on cables almost as much as I hate gaffer pulling paint off of floors/walls, etc! Ynot ------------------------------ In-Reply-To: References: Message-Id: <81a81f0e7f72202350d089f3ee1f454c [at] dejazzd.com> From: Greg Bierly Subject: Re: Light control film Date: Thu, 26 May 2005 18:30:43 -0400 I have seen such a product for computer screens (privacy) but have never seen it anywhere else. I am guessing a piece the size of a computer monitor screen would not work? Pretty expensive as I recall. > I am looking to purchase a small quantity of 3M's > Slanted Light Control Film. It is a plastic sheet with > microlouvers embedded inside. It is used to direct > light in a certain direction. Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <5be20280befa59dfe4734fac9a30efce [at] dejazzd.com> From: Greg Bierly Subject: Re: Patch boxes Date: Thu, 26 May 2005 19:36:10 -0400 > Does that sorta tell you why I'd like to put a fixed multicore in > instead....? As I read it, put in a fixed multicore with one breakout and one breakin. Then install additional multicore taps throughout your facility as funding and need arises. The breakin would be at the console and the breakout in your remote band room. Additional jacks could be placed on the stage to supply additional channels to the stage. Locate more in the pit and large group dressing rooms or even outside for a remote recording truck. If you use a unisex connecter such as the kind Whirlwind uses you could swap the breakout and breakin as necessary. Using the multi pin connector would keep the panels small and the more fragile breakout and in more secure since the breakouts can be locked away exposing only a robust multi pin connector. Greg Bierly Technical Director Hempfield HS ------------------------------ From: "Tony Deeming" Subject: RE: Patch boxes Date: Fri, 27 May 2005 00:45:18 +0100 Message-ID: In-Reply-To: -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Greg Bierly Sent: 27 May 2005 00:36 To: Stagecraft Subject: Re: Patch boxes For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > Does that sorta tell you why I'd like to put a fixed multicore in > instead....? As I read it, put in a fixed multicore with one breakout and one breakin. Then install additional multicore taps throughout your facility as funding and need arises. The breakin would be at the console and the breakout in your remote band room. Additional jacks could be placed on the stage to supply additional channels to the stage. Locate more in the pit and large group dressing rooms or even outside for a remote recording truck. If you use a unisex connecter such as the kind Whirlwind uses you could swap the breakout and breakin as necessary. Using the multi pin connector would keep the panels small and the more fragile breakout and in more secure since the breakouts can be locked away exposing only a robust multi pin connector. Greg Bierly Whoa, there! Slow down! 8-))) We're going WAAAAAY over the needs, now, not to mention budget! The immediate and probably long term requirement is just to get a feed down from the temporary band room. We've enough circuits down to stage to cope with anything we've thrown at them so far, so don't see a need to increase those, and there isn't really another area that we could conceivably need to supply with more than one or two lines (which we will probably throw in at the same time as one-offs anyway), so the job just entails one cable terminated one end on the sound cabinet patch field, and the other in a box in the remote room. Thanks for the thoughts, but I'm pushing the envelope on the original idea, so additions just won't get past the bean counters! 8-)) Cheers Ynot ------------------------------ Message-ID: <20050527003040.96340.qmail [at] web81701.mail.yahoo.com> Date: Thu, 26 May 2005 17:30:40 -0700 (PDT) From: Michael Heinicke Subject: Re: Light control film In-Reply-To: 6667 That is the same material, though it uses louvers that are perpendicular to the surface of the sheet. What I need places the louvers at an angle to the surface. You are correct in it being expensive. About $260US for an 11"x30" sheet. You can understand why I don't want to buy any more than what I need! Mike H --- Greg Bierly wrote: > I have seen such a product for computer screens > (privacy) but have > never seen it anywhere else. I am guessing a piece > the size of a > computer monitor screen would not work? Pretty > expensive as I recall. ------------------------------ Message-ID: <297C9E3B63B2D3119C8100508B5ED28F16020107 [at] exchange2.ubc.ca> From: "Riter, Andrew (Head Ltg)" Subject: please send emails of past digests - 400 through 405 Date: Thu, 26 May 2005 17:37:14 -0700 Hi. I had a few digests bounce back to Noah. I've got our IT working on the "why", but he'd like a copy of the digests. Can someone (or multiple someones) send me individual copies of digests #400 - #405, so I can forward those to my IT and he can try to determine what caused the filter to kick them back? I'm getting the current ones now, for whatever reason. Thanks everyone. Yes, my inbox may become swamped, but we've got a large server. . . . . (thanks noah) 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 ------------------------------ Subject: RE: Technical Theatre Safety Manual Needed Date: Thu, 26 May 2005 22:21:48 -0400 Message-ID: From: "James, Brian" I am not sure the name of the contact, but try contacting the Fairfax = County, Virginia public school system. Years ago they already had a plan = in place, including training and testing for their students. It was = pretty impressive. The position used to work out of the Superintendents = Office. Might be a starting point. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Carolyn Giles Sent: Thursday, May 26, 2005 8:44 AM To: Stagecraft Subject: Technical Theatre Safety Manual Needed For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi: I am currently planning for a technical theatre safety orientation for middle and high school students in the fall and am in need of a manual that anyone would be willing to share. A digital version is preferable. = A hard copy can be faxed - 513-527-1304 or mailed to me at: Carolyn E. Giles Chair, Fine and Performing Arts The Seven Hills School 5400 Red Bank Road Cincinnati, OH 45227 513-272-5390 Thanks in advance, Cg ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Patch boxes Date: Thu, 26 May 2005 23:03:19 -0400 > so the job just entails one cable terminated one end on the sound > cabinet patch field, and the other in a box in the remote room. Even so, I would push for the additional cost of the Multipin connector. The "pros" are considerible. The smaller size, thus better aesthetics for the coverplate, the security, the need for shorter patch cables since you can run the breakout to the center of the band, thus less cables to tape down. I was just trying to describe what I believed CB was referring to, as opposed to running a multicore snake every time down the hall like you thought he was proposing. I know the whole beancounter thing. Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Prop masters beware (light saber- how stuff works) Date: Thu, 26 May 2005 23:10:39 -0400 OK you have gotta check this out. People with WAAAYY! too much time on their hands. On May 26, 2005, at 10:58 AM, Herrick Goldman wrote: > The prop you make in 1977 may grow to be reality. > > Or at least get added to and expanded upon. I need one of these around > the > shop. They'd be great for the C- clamps that the locking nut is > sheared off > of. > > > > Funny you never see Obi-Wan lighting up after a heated battle by using > his > Saber. What a great idea.... Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <4d69acee1ba78926a45afc2485177ef1 [at] dejazzd.com> From: Greg Bierly Subject: Re: Prop masters beware (light saber- how stuff works) Date: Thu, 26 May 2005 23:11:50 -0400 sorry for the bandwidth. back to that whole email on lack of sleep thing. Sorry! ------------------------------ Message-ID: <20050527031249.56852.qmail [at] web20426.mail.yahoo.com> Date: Thu, 26 May 2005 20:12:49 -0700 (PDT) From: b d Subject: Re: Technical Theatre Safety Manual Needed In-Reply-To: 6667 A tech theatre safety manual is essential. You can be as careful as you want, but you will always miss something. Even though you think you have researched, discussed, elimanated, tried, and (fill in the blank) worked through every possible situation, you haven't. As I'm sure you know, there is no "one size fits all" manual. Collect the information that others send, see what applies to your specific situation, and apply it accordingly. Commen sense....excuse me, a realization that theatre is just theatre, and life is life is first and foremost. TD's have a ton to worry about as it is, being safe is one of those things. And you must be. It seems to me, that often times, the TD gets the short end.. He/She brings up things that they feel are important (like rigging inspections), however the musical theatre faculty member gets the nod. The house seating is in desperate need of repair, however, we must make sure the donors have the show they want (in another space of course!). Sorry if this is a bit out of the range of the original question, but I feel that it's important to want to do your job, but, ultimately, it's your thing. Even though you "say" and "enforce", "NO STANDING ON THE RAIL OF THE LIFT", they will, and It's on you. So.. 2 cents, as out of the range of the question as they may be Thanks Brian --- "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I am not sure the name of the contact, but try > contacting the Fairfax County, Virginia public > school system. Years ago they already had a plan in > place, including training and testing for their > students. It was pretty impressive. The position > used to work out of the Superintendents Office. > Might be a starting point. > > > -----Original Message----- > From: Stagecraft > [mailto:stagecraft [at] theatrical.net]On Behalf Of > Carolyn > Giles > Sent: Thursday, May 26, 2005 8:44 AM > To: Stagecraft > Subject: Technical Theatre Safety Manual Needed > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Hi: > > I am currently planning for a technical theatre > safety orientation for > middle and high school students in the fall and am > in need of a manual > that anyone would be willing to share. A digital > version is preferable. > A hard copy can be faxed - 513-527-1304 or mailed to > me at: > > > Carolyn E. Giles > Chair, Fine and Performing Arts > The Seven Hills School > 5400 Red Bank Road > Cincinnati, OH 45227 > 513-272-5390 > > Thanks in advance, > Cg > > __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new Resources site http://smallbusiness.yahoo.com/resources/ ------------------------------ In-Reply-To: References: Message-Id: From: Noah Price Subject: Re: please send emails of past digests - 400 through 405 Date: Thu, 26 May 2005 23:14:06 -0700 On May 26, 2005, at 5:37 PM, Riter, Andrew (Head Ltg) wrote: > I had a few digests bounce back to Noah. I've got our IT working on > the "why", but he'd like a copy of the digests. > > Can someone (or multiple someones) send me individual copies of > digests #400 - #405, so I can forward those to my IT and he can try to > determine what caused the filter to kick them back? If the content might be the problem, all the digests are available at on the web site: Only #402 and #403 actually bounced. If your IT wants the headers for email from my server, you can give them any other digest you've received. They can contact me directly if they need more info. Thanks, Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ Message-ID: <1110.64.28.53.133.1117177675.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Fri, 27 May 2005 00:07:55 -0700 (PDT) Subject: Re: Patch boxes From: "Bill Nelson" Using the multi pin connector would keep the panels > small and the more fragile breakout and in more secure since the > breakouts can be locked away exposing only a robust multi pin > connector. All of the high pin count connectors I have seen are not very robust. The pins are thin and easily bent. They can also be pushed back into the connector over time. But that is mainly a problem with the male connectors - the female seem to be more resistant. With care, they function fine - we use them at our facility - all the wall connectors are female. The breakouts/breakins are male - so they can be placed anywhere desired. Just don't let the renting party make the wall connections - have a staff member do it. Bill ------------------------------ Message-ID: <1115.64.28.53.133.1117177928.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Fri, 27 May 2005 00:12:08 -0700 (PDT) Subject: Re: Patch boxes From: "Bill Nelson" One breakout and one breakin will do for a start. We have two breakouts in our theatre and I have wished I had three a few times. We also have a stage box that has the multipin connector on one end - so it also can be fed through the multicore cable. Bill ------------------------------ End of Stagecraft Digest #409 *****************************