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 24776588; Wed, 21 Sep 2005 03:00:59 -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 #526 Date: Wed, 21 Sep 2005 03:00:09 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, SARE_WEOFFER autolearn=unavailable version=3.0.4 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #526 1. Re: Disney in New Orleans by "Josh Ratty" 2. Re: Disney in New Orleans by "John Gibilisco" 3. No More "Disney in New Orleans" by LITETROL [at] aol.com 4. Re: Disney in New Orleans by Charlie Richmond 5. Re: flame retardant worked well by "Jonathan Rast" 6. Re: Disney in New Orleans by "Jeffrey E. Salzberg" 7. Re: Stairs by "Bill Conner" 8. Re: Disney in New Orleans by Charlie Richmond 9. Re: Stairs by "Bill Conner" 10. Re: Stairs by Jerry Durand 11. Re: Disney in New Orleans by "Jeffrey E. Salzberg" 12. Re: VL1000's CMY Color Mixing by Shawn King 13. Re: VL1000's CMY Color Mixing by "Jeffrey E. Salzberg" 14. why "Disney in New Orleans" by "Ken" 15. disney in New Orleans by b Ricie 16. "Goofy" in New Orleans by Bob Frame 17. Re: VL1000's CMY Color Mixing by Stephen Litterst 18. Re: Flame retardant worked well by FrankWood95 [at] aol.com 19. Re: VL1000's CMY Color Mixing by Shawn King 20. Re: Hazmats continued by FrankWood95 [at] aol.com 21. Re: Disney in New Orleans by "John Gibilisco" 22. Re: Flame retardant by Marty_Petlock [at] sarasotagov.com 23. sightlines and prices rant by Judy 24. Re: sightlines and prices rant by "Michael Diederich" 25. Re: sightlines and prices rant by Charlie Richmond 26. Re: sightlines and prices rant by "Jeffrey E. Salzberg" 27. Re: sightlines and prices rant by MissWisc [at] aol.com 28. Styrofoam stage weights by Paul Marsland 29. Re: Disney in New Orleans by FrankWood95 [at] aol.com 30. Re: Disney in New Orleans by "Jeffrey E. Salzberg" 31. Re: Disney in New Orleans by FrankWood95 [at] aol.com 32. Re: Disney in New Orleans by "Michael Denison" 33. Re: Disney in New Orleans by Stephen Litterst 34. Re: Disney in New Orleans by FrankWood95 [at] aol.com 35. Re: Disney in New Orleans by FrankWood95 [at] aol.com 36. Roscoscreen Goo by "Stephen E. Rees" 37. Console processor issues- need advice by "Abby Downing" 38. Re: Console processor issues- need advice by "Jim at TheatreWireless.com" 39. Re: Console processor issues- need advice by rwhitco [at] comcast.net 40. Re: sightlines and prices rant by "Jon Ares" 41. The Skin of Our Teeth by "Jonathan S. Deull" 42. FW: Shop Work Tables by "Jonathan S. Deull" 43. Re: Shop Work Tables by "Chris Warner" 44. Rosco Screen Goo by Kevin Lowry 45. tour transportation by "Jared Fortney" 46. Re: tour transportation by "Abby Downing" 47. serious political issue :-) by Michael Powers 48. Re: FW: Shop Work Tables by "Matthew Breton" 49. Re: FW: Shop Work Tables by "Jon Ares" 50. Re: Disney in New Orleans by Charlie Richmond 51. Re: Console processor issues- need advice by Charlie Richmond *** 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, 20 Sep 2005 06:12:46 -0400 From: "Josh Ratty" Subject: RE: Disney in New Orleans In-reply-to: Cc: joechamp [at] gmail.com Message-id: <009801c5bdcb$d97659b0$6600a8c0 [at] Rattys> Another thing to remember, especially when thinking about midterm elections is that when Brown was confirmed as head of FEMA, his hearing was attended by only FOUR senators and lasted a mere 42 minutes (less than most high school classes) and not one of the 4 questioned is lack of authority. Josh Ratty ------------------------------ Message-ID: <004601c5bde0$5528fa40$6400a8c0 [at] om.cox.net> From: "John Gibilisco" References:

Subject: Re: Disney in New Orleans Date: Tue, 20 Sep 2005 07:39:23 -0500 I do not apologize before or after this political rant. If you don't > want to read a political opinion, pass by this post or scroll down > until you see END POL. Not looking for apologies or politics, just stagecraft. JG ------------------------------ From: LITETROL [at] aol.com Message-ID: <65.4de42abc.306162ec [at] aol.com> Date: Tue, 20 Sep 2005 09:04:44 EDT Subject: No More "Disney in New Orleans" In a message dated 9/20/2005 8:46:16 AM Eastern Standard Time, johngib [at] cox.net writes: Not looking for apologies or politics, just stagecraft. Thank You. I couldn't agree more...... _steve [at] litetrol.com_ (mailto:steve [at] litetrol.com) Lite-Trol Service Co., Inc. 485 West John Street Hicksville NY 11801 800 548 3876 516 681 7288 fax ------------------------------ Date: Tue, 20 Sep 2005 14:05:11 +0100 (BST) From: Charlie Richmond Subject: Re: Disney in New Orleans In-Reply-To: Message-ID: References:

On Tue, 20 Sep 2005, John Gibilisco wrote: > I do not apologize before or after this political rant. If you don't >> want to read a political opinion, pass by this post or scroll down >> until you see END POL. > > Not looking for apologies or politics, just stagecraft. Theatre is affected by politics and policy and one of its prime functions is to affect both, or it has no purpose as far as I'm concerned. Theatre is an essentially political act which allows people to express their opinions and influence people directly and locally -- something film, television and other entertainments of a more general nature can't necessarily do. Stagecraft is essential for the success of theatre and therefore our awareness of politics and how it may potentially affect us, positively or negatively, is essential. It's true that this conversation has strayed away from that particular focus but the subject line still refers to comments that were somewhat pertinent to this (use of theatrical techniques to convey political messages). But I was also one who did not pass this excellent post by.... Charlie ------------------------------ Message-ID: From: "Jonathan Rast" Subject: Re: flame retardant worked well Date: Tue, 20 Sep 2005 09:19:02 -0400 Dr. Doom: I believe I speak for quite a few when I state that the article would be both interesting and useful. Would you consider posting a link to it on the list? Jonathan Rast, EI Original message: From: "RD" Subject: RE: Flame retardant worked well Date: Mon, 19 Sep 2005 18:47:10 -0600 I have just published an article on flame retarding, .... if there is interest. Doom -----Original Message----- From: On Behalf Of Bill Conner Sent: Monday, September 19, 2005 9:23 AM Subject: Re: Flame retardant worked well Simon Shuker posted: "I have had an instance on an exhibition stand were part of a velvet velour drape was left sitting on a light. It ended up with ... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Disney in New Orleans Date: Tue, 20 Sep 2005 09:24:30 -0400 Message-ID: <000001c5bde6$a50b5c00$6701a8c0 [at] Dell> In-Reply-To: > Stagecraft is essential for the success of theatre and > therefore our awareness > of politics and how it may potentially affect us, positively > or negatively, is > essential. Thank you, Charlie. Shortly before the November, 2004 election, a poll (http://www.pipa.org/OnlineReports/Pres_Election_04/html/new_10_21_04.html) found that approximately 75% of Bush supporters believed that Iraq had or had been developing WMDs and that Saddam was a supporter of al Quaida, despite the fact that by merely picking up a newspaper, they could have learned that neither was true. They didn't need data; they were sure it *must* be so. When electricians, carpenters, and (especially) riggers ignore facts in favor of what they're sure must be so, people die on stage. When voters do it, people die in Louisiana. ------------------------------ Message-ID: <000c01c5bde8$f87a3cb0$6601a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Stairs Date: Tue, 20 Sep 2005 08:41:08 -0500 Jerry posted: To a point. I hate the stairs that are more like a slightly terraced hill where instead of normal stairs alternating with landings you get these WIDE treads and really shallow risers. THOSE trip me up. I'm not sure what this would be but I forgot to mention that the building codes prohibit risers less than 4". I don't know if you feel that qualifies as "slightly terraced" or not. I prefer to avoid risers less than 5" when I can but it is sometimes unavoidable in larger rooms where a ramp is too shallow but 5" risers are too steep. Good handrails and good illumination and contrast seem especially helpful in these conditions. BTW, I don't make this stuff up. It's from researchers who have spent years studying human movement. One project was hundreds of hours of film counting people and steps and stumbles and resultant falls on different aisle stairs. Regards, Bill ------------------------------ Date: Tue, 20 Sep 2005 14:58:35 +0100 (BST) From: Charlie Richmond Subject: Re: Disney in New Orleans In-Reply-To: Message-ID: References: On Tue, 20 Sep 2005, Jeffrey E. Salzberg wrote: > Shortly before the November, 2004 election, a poll > (http://www.pipa.org/OnlineReports/Pres_Election_04/html/new_10_21_04.html) Another pertinent story about how theatre is not just entertainment but constantly fights to convey a message: http://news.bbc.co.uk/1/hi/entertainment/arts/4261796.stm Let us always hope that freedom of speech is upheld. Charlie ------------------------------ Message-ID: <001001c5bdeb$ad914470$6601a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Stairs Date: Tue, 20 Sep 2005 09:00:30 -0500 Joseph Champelli posted: "Bill, in your experience are there guidelines or ergonomic data for the width of landings used within stair runs? I've been in some theatre houses that are just plain awkward to navigate. The showroom at the Aladdin in Las Vegas comes to mind. In that space you have 2 or 3 stairs and then a long landing. The landing is too long to take as a step and not long enough for a full stride. So you have to take a weird little half-step on the landing before you take a step." Generally, landings should be as deep (along direction of travel) as the required width of the treads but I can't help but think you are looking at an aisle stair with the old short-long tread, where the intermediate step or steps in each row are short and the tread at the level of the seats is long. It's been understood for a longtime by some and required by codes for over a decade that the treads be uniform down the stair aisle. Each row is not a landing or, if it is, then it has to be quite deep. For instance, 36" side aisle with two intermediate steps would have 58" rows (36 + 2 X 11). We tend to trust our "feel" and instinct especially if unaware of science and research. I've been on compliant stairs and thought they felt a little awkward. I'll sometimes sit and watch people egress at the end of a show and try to see how many people stumble. One sign seems to be increased percentage of users that use the handrail for support. Sometimes, the "unnatural" gait makes me more aware and I'm more vigilant. And then there are those films and counting falls. And don't forget we design stairs for an entire population. What feels odd to the fit healthy young buck or simply those of us who still take two steps at a time could be treacherous for the 80 year old user with a slight mobility impairment (limp). Bill ------------------------------ In-Reply-To: References: Message-Id: <02E37E35-2EBB-433A-9B83-B42142819FC0 [at] interstellar.com> From: Jerry Durand Subject: Re: Stairs Date: Tue, 20 Sep 2005 06:59:39 -0700 On Sep 20, 2005, at 6:41 AM, Bill Conner wrote: > I'm not sure what this would be but I forgot to mention that the > building codes prohibit risers less than 4". I don't know if you > feel that qualifies as "slightly terraced" or not. I prefer to > avoid risers less than 5" when I can but it is sometimes > unavoidable in larger rooms where a ramp is too shallow but 5" > risers are too steep. Good handrails and good illumination and > contrast seem especially helpful in these conditions. > I've seen them in public places where the rise is 4" or less, treads are 18" or more, and no handrails (these are normally too wide for handrails). A friend also lives in a condo complex in San Francisco that has legal, but steep stairs with no riser board (individual treads supported on the two sides) leading to the front door, this gap makes it REALLY hard to bring in a hand truck without the good stair ramps on it, or a wheeled suitcase, etc. Also, the elevator is at the TOP of the stairs. No wheelchairs, crutches, etc. here. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Disney in New Orleans Date: Tue, 20 Sep 2005 10:06:51 -0400 Message-ID: <001201c5bdec$8f5b3d20$6701a8c0 [at] Dell> In-Reply-To: =20 > Let us always hope that freedom of speech is upheld. Absolutely, but let's also remember that freedom of speech includes the right of religious groups to protest (peacefully) that which offends = their beliefs -- even if we disagree with them. Aaron Sorkin wrote this great line for the movie "The American = President": "America isn't easy. America is advanced citizenship. You've gotta = want it bad, 'cause it's gonna put up a fight. It's gonna say, 'You want free speech? Let's see you acknowledge a man whose words make your blood = boil, who's standing center stage and advocating at the top of his lungs that which you have spent a lifetime opposing at the top of yours. You want = to claim this land is the land of the free? Then the symbol of your = country cannot just be a flag; the symbol has to be one of its citizens = exercising his right to burn that flag in protest. Now show me that. defend that. Celebrate that in your classrooms. Then you can stand up and sing about = the land of the free.' "...We have serious problems to solve, and we need serious people to = solve them. " For "America", you could just as easily substitute "Canada", "Britain", = or the name of any other great democracy. ------------------------------ Message-ID: <84c790f305092008092a87bab4 [at] mail.gmail.com> Date: Tue, 20 Sep 2005 11:09:30 -0400 From: Shawn King Reply-To: Shawn King Subject: Re: VL1000's CMY Color Mixing In-Reply-To: References: <84c790f3050919145768a86a6a [at] mail.gmail.com>

On 9/20/05, Ken Romaine wrote: > > Now, I'll admit that the differences are (or should be) small, depending > on the luminaire, this can end up looking like two close, but different, = colors. > > That said, a "color equivalent" chart, if well made, should at least get = you > "in the ballpark", as Jeff Salzberg pointed out.. I am aware that there will be small differences between the units, but I was just hoping for something that would get me close to my target color, and thus require a just a small amount of tweaking. I have a lot of colors that I need to match, and I think a chart would make things go so much smoother. It looks like I will have to create this from scratch, but if anyone needs such a thing, I would be happy to share my new chart. Now I just need to figure out if the Obsession II will display DMX values for the color (right now it is setup for 0-100%). I also think having a chart like that would make things much easier for visitng LDs. Thanks, Shawn King Lighting Supervisor Dance Theater Workshop (212)691-6500 ext 218 www.dtw.org ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: skingld [at] gmail.com ('Shawn King') Subject: RE: VL1000's CMY Color Mixing Date: Tue, 20 Sep 2005 11:22:28 -0400 Message-ID: <000a01c5bdf7$20175920$6701a8c0 [at] Dell> In-Reply-To: > if anyone needs > such a thing, I would be happy to share my new chart. Me! Me! Me! Pick meeeeee!! ------------------------------ From: "Ken" Subject: why "Disney in New Orleans" Date: Tue, 20 Sep 2005 10:46:30 -0500 In-Reply-To: Message-ID: About 2 weeks ago I made a slightly sarcastic comment that New Orleans should be relocated to some empty county in Texas and Disney should come in to do make it look like the real New Orleans (but with less rats) I did not intend to start a political rant on here and there are several realities that we all need to remember 1. Lots of people F'd up in this mess probably the same things were said about the Chicago Fire and SF earthquake. Its easy to see what went wrong after the show is over but you can't fix much in the middle of Act 2. 2. As the elections have reflected the country is split over which side is right and which is wrong and neither one could ever do anything wrong or right depending on which side of the fence you reside. 3. The list is about Stagecraft not politics; keep the political comments in the bar. I am sorry I made my first comment Ken ------------------------------ Message-ID: <20050920155205.29599.qmail [at] web50611.mail.yahoo.com> Date: Tue, 20 Sep 2005 08:52:05 -0700 (PDT) From: b Ricie Subject: disney in New Orleans In-Reply-To: Jeffery said >>"While there is much validity in that -- and many of us have dug deeply, and more than once -- there's also validity in keeping the issue in the forefront of people's consciousness so that this isn't allowed to happen again."<< DITTO TO THAT! Now is exactly the time to play the "blame game". Personally, I want the people who messed up, found out and fired. I am not willing to give the culpable parties the time to plan the cover game so they can decide who the fall guy will be. I don't want the token sacrifice to appease the masses, I want justice. I want the guy from FEMA who told my brother that they did not need his Helicopters fired(yes that is plural). We need to be vocal folks. Yes, we need to give, we need to vote, but we also need to be angry and demand accountability. (Sorry Rant OVER) Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." ______________________________________________________ Yahoo! for Good Donate to the Hurricane Katrina relief effort. http://store.yahoo.com/redcross-donate3/ ------------------------------ Message-ID: <2FDDC3C2F5B5F4499C096779EF5493B902CE40C4 [at] EXCHANGE_NT.cayuga-cc.edu> From: Bob Frame Subject: "Goofy" in New Orleans Date: Tue, 20 Sep 2005 12:22:57 -0400 Too bad didn't he get head in the oval office then he could be impeached! --Original Message---------------------------------- ate: Tue, 20 Sep 2005 10:48:51 +0100 (BST) From: Charlie Richmond Subject: Re: Disney in New Orleans On Mon, 19 Sep 2005, Sam Fisher wrote: > I understand. But I believe the time for that will be in a few years...come > the next presidential election. > > Bill S. > > > I hate waiting, do we really have to... Nixon was forced to resign.... Charlie ------------------------------ Date: Tue, 20 Sep 2005 13:16:58 -0400 From: Stephen Litterst Subject: Re: VL1000's CMY Color Mixing In-reply-to: Message-id: <4330440A.2010609 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: <84c790f3050919145768a86a6a [at] mail.gmail.com>

Shawn King wrote: > --------------------------------------------------- Now I just need to figure out if the > Obsession II will display DMX values for the color (right now it is > setup for 0-100%). I explored this last year with Nancy Moeur (Syracuse U). Obsession will only display percentile. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 20 Sep 2005 13:43:13 EDT Subject: Re: Flame retardant worked well In a message dated 20/09/05 01:55:57 GMT Daylight Time, doomster [at] worldnet.att.net writes: > I wish someone would set up a leko (the old Colortran 213's with a shorter > focal length and a 1k lamp work real well) and try this in their parking > lot. A boom, couple of side arms, and maybe two yards of Memorable straight > > from the factory. A web cam would be great. I once did this with polystyrene foam sheet and a 1kW Par 64. The foam was 1" packing material. Since I have seen smoke coming from a wooden step ladder after ten minutes at close range in such a beam, I though this a reasonably drastic test. After three hours, the sheet was visibly thinner in the area where the beam had hit. That's all. Frank Wood ------------------------------ Message-ID: <84c790f3050920111726f15c67 [at] mail.gmail.com> Date: Tue, 20 Sep 2005 14:17:47 -0400 From: Shawn King Reply-To: Shawn King Subject: Re: VL1000's CMY Color Mixing In-Reply-To: References: <84c790f3050919145768a86a6a [at] mail.gmail.com>

On 9/20/05, Stephen Litterst wrote: > I explored this last year with Nancy Moeur (Syracuse U). Obsession > will only display percentile. Well then. Thanks for the info (and the saved time). Shawn King Lighting Supervisor Dance Theater Workshop (212)691-6500 ext 218 www.dtw.org ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <62.5d6d3de9.3061adbe [at] aol.com> Date: Tue, 20 Sep 2005 14:23:58 EDT Subject: Re: Hazmats continued In a message dated 20/09/05 01:56:42 GMT Daylight Time, doomster [at] worldnet.att.net writes: I have not seen any true > diminishing of hazardous chemicals. I truly desire that there were less, but > not what I observe and document. The number of new compounds developed each > year is in the thousands, and they make their way into our lives, i.e. > homes, vehicles, environments, schools, water, etc. and into our working > environments and venues. Not only is this my opinion, but it is factually > true and the evidence is stark. Respectfully, Dr. doom I suspect that a part of this is that we are more sensitive to potential hazards than we were when we were younger, and also better informed. I remember my physics and chemistry lessons back in the fifties. Protective clothing was unheard of. OK, the teacher might well wear a lab coat, but this was mainly to keep the chalk dust out of his jacket. An academic gown serves the same purpose. But some of the demnstrations would make your hair curl. I remember the desirable properties of fuse wire being shown. Two lab stands with a piece of wire stretched between them, and full 230V mains applied through a variable restance. An iron wire got red hot, and broke with a shower of sparks; a copper wire got red hot, and sagged before melting; a piece of fuse wire just peacefully melted, with a small spark as it parted. A dust explosion was shown with a burner, a paper funnel, and a teaspoon of flour. When the properties of chlorine or sulphur dioxide were being demonstrated, some always escaped. During analysis experiments, the whole class was to and from the fume cupboard, where the hydrogen sulphide machine lived. I remember one very bad week, when I was myself teaching Physics and Chemistry. On Monday, in the Physics lab, comeone contrived to set on fire a piece of apparatus containing carbon di-sulphide. Clouds of sulphur dioxide. The following morning, in a Chemistry class, I was doing the preparation and properties of chlorine. I couldn't speak for the rest of the week. We worried less in those days. I remember no injuries or damage, apart from one friend of mine who learnt about nitrogen tri-iodide. This is a minor, but extremely sensitive explosive. He used to drill up a stick of chalk, pack it with the substance, and just leave it around. He used to carry a supply in his pocket, and one day it went off, and wrecked his jacket. Frank Wood ------------------------------ Message-ID: <003201c5be16$1732f2a0$6400a8c0 [at] om.cox.net> From: "John Gibilisco" References: Subject: Re: Disney in New Orleans Date: Tue, 20 Sep 2005 14:04:13 -0500 > When electricians, carpenters, and (especially) riggers ignore facts in > favor of what they're sure must be so, people die on stage. When voters do > it, people die in Louisiana Good grief. I don't think anyone disagrees with your facts or opinion. Nor am I trying to "ignore" what is going on. However, even with Charlie's excellent job of justifying it, I feel the commentary has shifted and needs to move to a different discussion group. I'm sure they exist. I'm not sure if the moderator will allow OT posts about stagecraft.;-) JG ------------------------------ Subject: Re: Flame retardant Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Tue, 20 Sep 2005 16:27:50 -0400 Dr. D I would be very interested to read the article on F.R. you mention in the digest. Thanks, Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ------------------------------ Message-ID: <43308145.1090009 [at] post.tau.ac.il> Date: Tue, 20 Sep 2005 23:38:13 +0200 From: Judy Subject: sightlines and prices rant This is a plea to all you teachers to stress sightlines! It's also a cry of outrage I guess. I was in London last week, and saw two plays where I couldn't see major parts of the action! The first was Death of a Salesman, which I'm told transferred from NY - maybe the set got messed up in the transfer. I paid about $50, which isn't that cheap, for a seat which was high up and far away. The acting did bridge the distance - but the scenery interfered! In one scene, where Willy is fired, the actors stood on a platform that had a roof. At crucial moments the roof hid them from me and another hundred-odd people in the balcony, and all we could see was their trousers! And the crucial moment in the play, where he kills himself, was some kind of effect at the rear which was totally invisible to the entire balcony! How does this kind of thing happen on the professional stage? Don't people ever watch a rehearsal from the balcony? The whole flow of the play (which was great) was spoiled because at climactic moments all you feel is frustration and annoyance that you can't see! It's unforgivable! Don't people learn about sightlines any more? Directors ought to know this too and not just designers!!! The other play was at the Globe, where I was sold a similarly expensive seat and found that there was a pillar directly in line with center stage, which means I couldn't see most of what happened and couldn't understand what was going on. The culprit there is obviously the people who renovated the theater, and considered accuracy more important than any plays that might actually be performed there. But the actors too ought to check out if there are places in the audience that they can't see, and know that in that case the audience sitting there won't see them. In short, sightlines are something that designers AND directors AND actors ought to know about!!!! I couldn't believe this happened in supposedly professional situations. Does anybody know if the NY production of Salesman had the same problem? And another rant: theater tickets are TOO EXPENSIVE. I rarely pay for tickets at home because I know the people, and so I didn't realize it before (and they weren't so expensive in the past, it's all gone up). Why would anybody but the wealthy go, in these conditions? Most plays are not much better than a good TV show anyway, I'm sorry to say, even with the best of intentions, and TV is free. Shouldn't there be something we could do about making the theater more affordable? ------------------------------ Subject: RE: sightlines and prices rant Date: Tue, 20 Sep 2005 16:59:45 -0400 Message-ID: From: "Michael Diederich" >>>> And another rant: theater tickets are TOO EXPENSIVE. Shouldn't there be something we could do about making the theater more affordable?<<<< We offer tickets for less than $10 on a regular basis. Usually under $5 for students with ANY college I.D. (not just ours) We still have a hard time breaking 125 people (in a 330-450 seat hall). I wish it weren't so easy to flip the television on for your entertainment, but it is. The prices are higher because no one will come and the cost of productions keeps going up. Just to pull people in we need high production value, but in smaller cities even that isn't enough. The best attended stuff in small towns are probably High School productions, and most of those people are only there to see little Billy and Susie sing and dance.... As the ticket prices go up, less people come, so the ticket prices go up to supplement the lost patrons, and the cycle goes on, until the wealthy and devoted are left to carry us. Mike Diederich Theater Technical Asst. MVCC Utica, NY ------------------------------ Date: Tue, 20 Sep 2005 22:01:43 +0100 (BST) From: Charlie Richmond Subject: Re: sightlines and prices rant In-Reply-To: Message-ID: References: On Tue, 20 Sep 2005, Judy wrote: > I was in London last week, and saw two plays where I couldn't see major parts This happens all too often! My least favourite experience in this regard has produced one of my favourite stories: I bought a front row seat for Tom Stoppard's 'Night and Day' which featured Diana Rigg (my pash) in a famous nude scene. Of course, she played the whoe thing behind an overstuffed chair stuck right in front of me DR! Extremely frustrating ;-) > The other play was at the Globe, where I was sold a similarly expensive seat Those who know the Globe recommend the cattle (standing) seats and comfortable shoes. No pillars in front of the pit ;-) But make sure the weather behaves... > and TV is free. Shouldn't there be something we could do about making the > theater more affordable? Good questions but theatre is struggling now anyway. Subsidies are what allow places like the Globe and the National to survive and they do offer reasonable price tickets, as does the Old Vic and a large number of smaller venues who aren't quite so ambitious. Musicals are in a horsepower race these days - bigger, better, louder, brighter, more effects and enormous fancy flying sets get the audiences in they think. And this costs a huge amount of money, even if they strip down the orchestra and use synthesisers instead of musicians... we only see them when we get free tickets or when they originate at the National, which does happen frequently. Just don't forget that there are lots of bargains outside the West End ;-) Charlie ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: sightlines and prices rant Date: Tue, 20 Sep 2005 17:11:22 -0400 Message-ID: <003b01c5be27$dd5ae210$6701a8c0 [at] Dell> In-Reply-To: > I bought a front row > seat for Tom > Stoppard's 'Night and Day' which featured Diana Rigg (my > pash) in a famous nude > scene. Of course, she played the whoe thing behind an > overstuffed chair stuck > right in front of me DR Ohmigawd...Diana Rigg? I'd've jumped up on stage and moved the damned chair. ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Tue, 20 Sep 2005 17:21:07 EDT Subject: Re: sightlines and prices rant _kupfer [at] post.tau.ac.il_ (mailto:kupfer [at] post.tau.ac.il) writes: <> Forgot the real culprit.. whomever sold you a blocked-view seat without telling you in advance. That would have solved the problem at the Globe. Perhaps that's why people went to HEAR a play in Shakespeare's time. As for the ticket prices... so long as productions are based on spectacle rather than performer skill, prices will continue to go up. Do we NEED computerized moving lights, deck automation systems, digital signal processors driving enough speakers to deafen whole towns, pyro, custom human hair wigs, or $40,000 hand beaded electrified costumes? No. On the other hand, it's a darn good living for a lot of us and audiences love it. This is a business after all. Some ideas: Buy with a group. Shop the TKTS booth in NYC. Get the season ticket package for tours. Student rush if you can. Go on a cheaper evening or to a matinee. And when you do see a show that's worth every penny (Lion King and The Producers come to mind - I'd spend $100 to see them again) remember that the pocket you line today may be lining yours tomorrow. London is one of the most expensive cities on the planet. $50 US is reasonable for a live show since you're seeing dozens of performers and technicians working for you live. Kristi ------------------------------ Message-ID: <20050920213153.84568.qmail [at] web52208.mail.yahoo.com> Date: Tue, 20 Sep 2005 14:31:53 -0700 (PDT) From: Paul Marsland Subject: Styrofoam stage weights In-Reply-To: Stuart - interesting point you raise. While I have very basic metals knowledge, I can't begin to tell you more than it is a standard Clancy arbor. I would have looked for the welder (20+yrs commercial experience)to bring up any potential weakness issues after explaining the way we use the gear. From: Stuart Wheaton > In one of our venues, we welded 3x3 angle across the > vertical arbor rods to create a "false" bottom. It seems to me that subjecting those rods to that kind of localised heating could make a real metalurgical problem. Are those arbor rods just mild steel or are they something more exotic? Stephen - on our two-year-old facility, the "parts and workmanship" warranty was most likely expired, but I think it really doesn't matter in our case. In case of untoward accident, I think the path of liability lawsuit would be; us (the city), the manufacturer, the installer, the center's director, the maintenance guy, the crew supervisor and the weight loader, in roughly that order, regardless of a warranty and regardless of our modifications. But I'm not a lawyer either. Functionally, the stuff works, and likely will continue to work as warrented long after the warranty passes. I think the foam pigs is a great solution, just not the path we chose. By blessing or curse, ours is a commercial theatre mindset, and having been through shows where we had to raise the grid 39" (yes, raise the grid 39"), add 1000 amps of power, chop out our proscenium, core holes through the stage, many of the walls, and floors of the building, and install new access doors and loading docks, the thought of welding some angle on the arbors seemed like just another day at work (of course deferring the metalurgical questions to the welder), and life would be easier and safer for the weight loaders. We cut out the 42" high hand railing on the loading bridge for the same reason (yes, on the arbor side and not on the stage side). I agree that you are right that the foam pigs would be more flexible and replaceable. I'm not sure that I can imagine a situation in this venue that I might need more flexibility from my arbors than the (now split-level) 1500 plus 300 pound capacity. Nor can I image a reasonable need to replace some or all of the parts. Should we need to return an arbor to it's original state, it's $100 plus shipping from Clancy (probably half that from the local metal shop) plus $132 in labor. In retrospect, foam pigs would be great. Our angles are great too. From: "Stephen E. Rees" Can't speak as to the type of steel in the rods, but apart from the heating problem, by welding a permanently added feature, you are voiding any warranties the manufacturer may have had and, more importantly, you have converted the device to a use other than what the maker had intended (even if it suits your needs better) In the event of a failure, all the liability now rests on your organization and the maker is out of the loop, I should think. Am not an attorney but I know there are others who might render an opinion. Also, the long-term, replaceable and removable nature of the foam pigs allows greater flexibility of use it would seem. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <212.9870d2f.3061e54f [at] aol.com> Date: Tue, 20 Sep 2005 18:21:03 EDT Subject: Re: Disney in New Orleans In a message dated 20/09/05 06:19:00 GMT Daylight Time, joechamp [at] gmail.com writes: > Come 2008, the right wing propaganda machine will be in full operation > and people will be subjected to typical fear mongering about > terrorists and 'liberal spending'. Not many will remember a > republican machine that cares little about the poor, and spends just > as freely while leaving the bills for the next generation. > > Hopefully in 2008 we'll find someone who is interested in protecting > the poor huddled masses who have nowhere to go and therefore refuse to > get on the bus. > > Sorry for the politics, but you know...it's all politics. I sympathise with your views. But politicians will always go with what will get them re-elected. Once in a while, you will get one who doesn't care about that. They see what needs to be done. I think that Winston Churchill was the last of them. FDR came close, and Margaret Thatcher was also in the running, maybe. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Disney in New Orleans Date: Tue, 20 Sep 2005 18:26:50 -0400 Message-ID: <004001c5be32$68269b50$6701a8c0 [at] Dell> In-Reply-To: > I sympathise with your views. But politicians will always go > with what will > get them re-elected. Once in a while, you will get one who > doesn't care about > that. They see what needs to be done. > > I think that Winston Churchill was the last of them. FDR came > close, and > Margaret Thatcher was also in the running, maybe. I think there have been many, before and since; it's just that they tend to not get elected in the first place, much less re-elected. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <192.48a97838.3061e815 [at] aol.com> Date: Tue, 20 Sep 2005 18:32:53 EDT Subject: Re: Disney in New Orleans In a message dated 20/09/05 14:07:08 GMT Daylight Time, charlier [at] RichmondSoundDesign.com writes: > Theatre is affected by politics and policy and one of its prime functions is > to > affect both, or it has no purpose as far as I'm concerned. Theatre is an > essentially political act which allows people to express their opinions and > influence people directly and locally -- something film, television and > other > entertainments of a more general nature can't necessarily do. I can't see this. Do you think Aeschulus or Euripides had this in mind? Shakespeare had, but only in so far as it concerned the continuance of his company. Some of the histories are blatantly political, and well in tune with the current regime. Theatre is for entertainment. Where is the politics in Shakespeare's comedies, in "The importance of being Earnest"? In countless other plays? Frank Wood ------------------------------ Message-ID: <43304C65.10688.16125F8B [at] localhost> From: "Michael Denison" Date: Tue, 20 Sep 2005 17:52:37 -0500 Subject: Re: Disney in New Orleans Reply-To: In-reply-to: Really? Have you seen any of Brecht's plays? Teatro Campesino? Russian plays of the revolutionary period? Anything by Dario Fo? Why did Stalin send Meyerhold to the Gulags? Why did Franco's men murder Garcia Lorca? Why did Louis XIV have to keep bailing Moliere out of jail? Theatre is just for entertainment????? > Theatre is for entertainment. Where is the politics in Shakespeare's > comedies, in "The importance of being Earnest"? In countless other plays? 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 ------------------------------ Date: Tue, 20 Sep 2005 18:58:58 -0400 From: Stephen Litterst Subject: Re: Disney in New Orleans In-reply-to: Message-id: <43309432.4050904 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > --------------------------------------------------- > Theatre is for entertainment. Where is the politics in Shakespeare's > comedies, in "The importance of being Earnest"? In countless other plays? It's been too long since I took a theory and criticism course, but I'll try to summon up a little something. "Measure for Measure" is considered (or was, when I was in school) to be a comedy, and it certainly has volumes to say about the relationship of power to corruption. I could go case by case, but comedy almost always contains some degree (or a large degree) of social satire. Society is created by and directly influences politics and policy. Just because something is entertaining doesn't mean it has to be devoid of message. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 20 Sep 2005 19:06:39 EDT Subject: Re: Disney in New Orleans In a message dated 20/09/05 23:54:28 GMT Daylight Time, mdenison [at] cottey.edu writes: > Really? Have you seen any of Brecht's plays? Many. He was a very political playwright. Find me a political content in "The Mousetrap". Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <15c.590da15a.3061f1b9 [at] aol.com> Date: Tue, 20 Sep 2005 19:14:01 EDT Subject: Re: Disney in New Orleans In a message dated 21/09/05 00:00:58 GMT Daylight Time, slitterst [at] ithaca.edu writes: > > "Measure for Measure" is considered (or was, when I was in school) to > be a comedy, and it certainly has volumes to say about the > relationship of power to corruption. Yesw, it has. Oddly enough, I have only seen it sa the Wagner opers "Das Liebsverbot", at Wexford. > > I could go case by case, but comedy almost always contains some degree > (or a large degree) of social satire. Society is created by and > directly influences politics and policy. I can't go with you all the way. Yes, many plays poke fun at the prevailing siciety, from Moliere onwards. But making statements had to wait for the twentieth century. Frank Wood ------------------------------ Message-ID: <4330A7EF.6080804 [at] fredonia.edu> Date: Tue, 20 Sep 2005 20:23:11 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Roscoscreen Goo Hi, I have a set of small (1 panel wide)RP panels covered with black Roscoscreen that were built perhaps 15 years ago. They have been stored ever since. I now have a need for them but discover that they have become really sticky. I think this is a natural degradation of the vinyl over time but wonder if there is a way to clean or neutralize/stabilize the goo. Any ideas would be appreciated. TIA. Steve Rees, TD SUNY-Fredonia ------------------------------ Subject: Console processor issues- need advice Date: Tue, 20 Sep 2005 21:00:01 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA30DF89 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Hello all, I'm calling out to the collective experience and wisdom of the list. An un-named client of mine with a un-named console is having issues. =20 After several years of pretty much repeating the same problems (sporadically locking up) and many hours of tech-support conversation (not by myself- I've inherited this problem), I've come to suspect that the processor on the motherboard is not seating snugly, or there is some kind of pin issue. This particular console is notorious for problems like these, so I'm told)and it's not a software issue OR a fleshware issue and several years of software upgrades, and bench service have eliminated such (again, so I'm told- but comes from a reputable source). It is my understanding that the fan inside could be causing the processor to vibrate enough to have issues. My question to you all is- does anyone out there have any clue what I can do to secure (read: glue) the processor in? Never run into this before, and need to fix on Thursday. (Gotta love that last minute notice.) It's a console where the faceplate is separate from the CPU- but the CPU definitely appears to be the culprit (as opposed to the faceplate connections being suspect). Perhaps I'm better served posting this question to a different group- but I thought I'd try here first. Any do's or do-not's would be helpfull.=20 Thanks in advance, Abby=20 ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: Console processor issues- need advice Date: Tue, 20 Sep 2005 21:24:33 -0400 In-Reply-To: Message-Id: <20050921012438.WDXV28424.tomts25-srv.bellnexxia.net [at] p3m866> What processor is it? What kind of package (i.e. how many pins, shape, style of socket, etc.) is this processor? How old is the console? I've often found that problems of this kind go away with a thorough cleaning, including contact cleaner for all sockets, connectors, switches, and controls. Start with a cleaning before you do anything more drastic. Of course, be sure to handle everything with care and put everything back where you found it. Beware of plastics that have become brittle with time and heat. Avoid accidentally bending pins when re-inserting parts. When spraying cleaner in controls and switches, operation will improve over time, as the cleaner works it's way in. My favorite contact cleaner is Nu-Trol from M.G. Chemicals. It has worked miracles on several occassions. Jim www.theatrewireless.com > problem), I've come to suspect that the processor on the > motherboard is not seating snugly, or there is some kind of > pin issue. This particular console is notorious for problems > like these, so I'm told)and it's not a software issue OR a > fleshware issue and several years of software upgrades, and > bench service have eliminated such (again, so I'm told- but > comes from a reputable source). ------------------------------ From: rwhitco [at] comcast.net Subject: Re: Console processor issues- need advice Date: Wed, 21 Sep 2005 01:52:52 +0000 Message-Id: <092120050152.5892.4330BCF2000C3DE0000017042200750744010C9B0708999D [at] comcast.net> Another issue to consider is static electricity. We've had boards lock up in the past, and using some "static guarding" type of spray on chairs, clothing seems to help. Randy Whitcomb, Manager Price Civic Aud. Loveland, CO ------------------------------ Message-ID: <001b01c5be4e$ef31ec00$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: sightlines and prices rant Date: Tue, 20 Sep 2005 18:51:07 -0700 > And the crucial moment in the play, where he kills himself, Oh great... ruined for me!!! (Just kidding. Love the play - even when forced to read it in both high school and college Dramatic Lit.) - Jon Ares www.hevanet.com/acreative ------------------------------ From: "Jonathan S. Deull" Subject: The Skin of Our Teeth Date: Tue, 20 Sep 2005 22:08:15 -0400 Message-ID: Beginning planning for an upcoming high school production of The Skin of = Our Teeth.=A0 Interested in any ideas or experiences from those who have = done the show.=A0 There are lots of possibilities... Jonathan Jonathan S. Deull Edmund Burke School Washington, DC ------------------------------ From: "Jonathan S. Deull" Subject: FW: Shop Work Tables Date: Tue, 20 Sep 2005 22:08:39 -0400 Message-ID: Outfitting our soon-to-be new scene shop/stagecraft classroom and considering building/buying 4x8 rolling work tables with locking = casters.=A0 Anybody have experience with this?=A0 Are there sources for stock units = like this?=A0 Other than using sawhorses, are there designs that are easy to = make disappear? Jonathan S. Deull Edmund Burke School Washington, DC ------------------------------ From: "Chris Warner" Subject: RE: Shop Work Tables Date: Tue, 20 Sep 2005 19:31:38 -0700 Message-ID: <008b01c5be54$97e08050$6401a8c0 [at] chris> In-Reply-To: The Junior College I went to have a table that must have been 8' x 16' with drawers, and storage underneath, it rolled pretty easily but mostly sat in one place. Might be a bit big, but rolling work tables make it easy to do what you need when you need it. Chris Warner -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jonathan S. Deull Sent: Tuesday, September 20, 2005 7:09 PM To: Stagecraft Subject: FW: Shop Work Tables For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Outfitting our soon-to-be new scene shop/stagecraft classroom and considering building/buying 4x8 rolling work tables with locking casters.=A0 Anybody have experience with this?=A0 Are there sources for stock units like this?=A0 Other than using sawhorses, are there designs that are easy to make disappear? Jonathan S. Deull Edmund Burke School Washington, DC --=20 No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.3/107 - Release Date: 9/20/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.3/107 - Release Date: 9/20/2005 ------------------------------ Message-ID: <5a73bd8d050920193010b98738 [at] mail.gmail.com> Date: Tue, 20 Sep 2005 22:30:09 -0400 From: Kevin Lowry Reply-To: Kevin Lowry Subject: Rosco Screen Goo The best way to clean any Rosco Screen material is with mild dish detergiant and a soft rag. I would try it in a small spot to see if you get the results you want. Rosco has also recently hired two new tech support reps. that are available to answer any questions about their products. Kevin Lowry Lowry Designs ------------------------------ From: "Jared Fortney" Subject: tour transportation Date: Tue, 20 Sep 2005 23:18:10 -0400 Message-ID: <4330d0f4.13568408.6f08.ffffddf6 [at] mx.gmail.com> A question to those of you with experience moving truck tours. The circus I work for is trying to transition from moving all of our equipment (minus the big top) by 24' straight truck to moving in semi trailers. Since we don't have staff CDL drivers to drive semi-trucks, we would have to contract the hauling with an outside company. I know Clark Transfer moves most of the big tours, but we're only moving at the most four trailers, about every four days and maybe a total of 1500 miles over the course of the tour. As a newbie to transportation coordination, what are some basic pieces of information that I can assemble so I can intelligently communicate with trucking companies? Are there any good estimation methods for transportation costs, or is every situation unique enough to require bids to determine ballpark costs? Our thinking/hope is that the hauling costs may be less than our current costs of vehicle rental, fuel, and insurance, not to mention all of our current drivers are under 30 and don't drive trucks that often. Any suggestions are appreciated. Thanks. Jared Fortney Circus Smirkus ------------------------------ Subject: RE: tour transportation Date: Tue, 20 Sep 2005 23:37:35 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA30DF8C [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Jared, A side note of advice... If you do end up hiring someone else to haul your gear, make doubly sure there's a declared value on the load and know who's insurance will cover what equipment and what kinds of damages. I've worked in rental houses that have been very badly burned even when their ducks WERE in a row. If you have any moving lights, I suggest a trailer with air-ride suspension, and lift gates are nice, but hard to find on trailers. A semi driver will have more laws to contend with (due to GVWR over 26,000lbs) and fuel tax and all kinds of state permits...in addition to finding a driver or drivers that know the ins and outs- you might want to find a broker/agent that deals with the permitting for you. As a new CDL driver that just drove out to Anaheim and then back to KY, I will tell you from experience that if you are not very familiar with each state's permitting, and fuel tax and insurance, and so forth, it can be a major hassle. My life was much easier when I drove around our UNDER 26,000 GVWR 24' straight truck. Just my 2 cents. You know how to get in touch with me...call if you have any questions. Nice to hear from you again! Abby -----Original Message----- From: Jared Fortney [mailto:jared.fortney [at] gmail.com]=20 Sent: Tuesday, September 20, 2005 11:18 PM To: Stagecraft Subject: tour transportation For info, archives & UNSUBSCRIBE, see --------------------------------------------------- A question to those of you with experience moving truck tours. The circus I work for is trying to transition from moving all of our equipment (minus the big top) by 24' straight truck to moving in semi trailers. Since we don't have staff CDL drivers to drive semi-trucks, we would have to contract the hauling with an outside company. I know Clark Transfer moves most of the big tours, but we're only moving at the most four trailers, about every four days and maybe a total of 1500 miles over the course of the tour. As a newbie to transportation coordination, what are some basic pieces of information that I can assemble so I can intelligently communicate with trucking companies? =20 Are there any good estimation methods for transportation costs, or is every situation unique enough to require bids to determine ballpark costs? Our thinking/hope is that the hauling costs may be less than our current costs of vehicle rental, fuel, and insurance, not to mention all of our current drivers are under 30 and don't drive trucks that often. Any suggestions are appreciated. Thanks. Jared Fortney Circus Smirkus ------------------------------ Message-ID: <58f67b0f05092021095a05b623 [at] mail.gmail.com> Date: Wed, 21 Sep 2005 00:09:44 -0400 From: Michael Powers Reply-To: Michael Powers Subject: serious political issue :-) I usually try to stay out of political threads but this seemed just too funny to pass up. "Overheard at a recent press briefing" Investigative journalist: Mr. President, what is your opinion on Roe vs: Wade? G. W. Bush: Oh, I think they're about the same. Either one is a good way to get out of New Orleans. I think I'm going bald, said Tom distressingly. -- Michael Michael Powers 413-522-3036 cell ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: RE: FW: Shop Work Tables Date: Wed, 21 Sep 2005 00:51:47 -0400 >Outfitting our soon-to-be new scene shop/stagecraft classroom and >considering building/buying 4x8 rolling work tables with locking casters.� >Anybody have experience with this?� Are there sources for stock units like >this?� Other than using sawhorses, are there designs that are easy to make >disappear? My shop has three rolling tables. They're not 4x8; they're 5x9, so a full sheet of plywood can go on top, with room left over to work on it. Make certain they share the same height as your table saw -- instant run-off table -- and any workbenches you may want to use. I turned the area underneath the tabletop into storage for wood scraps, and built a shelving unit onto one end for tool storage. On one, I drilled some holes for dogs; I have plans to individualize the other two over the winter when work slows down a bit. You might actually want to check out a woodworker's magazine or manual for tips on construction. Needless to say, between the weight of the table and the additional wood stored underneath, I rarely found it necessary to lock the brakes on them. "Are there designs that are easy to make disappear" -- you mean make the worktables disappear? or the designs? Not sure what your goal is here. -- Matt ========= _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee� Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ------------------------------ Message-ID: <000701c5be6f$2e690910$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: FW: Shop Work Tables Date: Tue, 20 Sep 2005 22:41:57 -0700 > You might actually want to check out a woodworker's magazine or manual for > tips on construction. Needless to say, between the weight of the table > and the additional wood stored underneath, I rarely found it necessary to > lock the brakes on them. Check out the "New Yankee Workshop" or "Ask This Old House" website - they have built some great rolling work tables that have casters, but are rigged to sit off the wheels when 'parked.' The rigging for the casters is brilliantly easy. (They freely credit a scene shop in Boston for the basic design.) - Jon Ares www.hevanet.com/acreative ------------------------------ Date: Wed, 21 Sep 2005 09:06:13 +0100 (BST) From: Charlie Richmond Subject: Re: Disney in New Orleans In-Reply-To: Message-ID: References: On Tue, 20 Sep 2005, FrankWood95 [at] aol.com wrote: > I can't see this. Do you think Aeschulus or Euripides had this in mind? Absolutely! Their pieces were totally political. Iphigenia at Aulis by Euripides (recently remounted at the National) was social and political commentary of the most intense kind, for example. And classics such as Agamemnon by Aeschylus and Oedipus Rex by Sophocles are constantly being reworked to fit modern contexts: http://www.arcolatheatre.com/?action=pasttemplate&pid=46 > Shakespeare had, but only in so far as it concerned the continuance of his company. This is certainly a matter of opinion but others have commented on this quite adequately ;-) > Some of the histories are blatantly political, and well in tune with the > current regime. > > Theatre is for entertainment. Where is the politics in Shakespeare's > comedies, in "The importance of being Earnest"? In countless other plays? Virtually every comedy had political undertones and Earnest is a great example of how the class system in Britain was crumbling at the turn of the century. I am pleased to see that most responses so far have acknowledged the concept that most playwrights have motives beyond providing simple entertainment. It would be depressing to me to have the majority here thing otherwise. Charlie ------------------------------ Date: Wed, 21 Sep 2005 09:07:35 +0100 (BST) From: Charlie Richmond Subject: Re: Console processor issues- need advice In-Reply-To: Message-ID: References: On Tue, 20 Sep 2005, Abby Downing wrote: > un-named client of mine with a un-named console is having issues. Is this a lighting or a sound console? I assume lighting but it's not absolutely clear.... Charlie ------------------------------ End of Stagecraft Digest #526 *****************************