Return-Path: <stagecraft-report [at] theatrical.net>
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 28616337; Sun, 19 Mar 2006 03:01:25 -0800
X-Spam-Level: 
X-Spam-Checker-Version: SpamAssassin 3.1.0 (2005-09-13) on prxy.net
X-Spam-Status: No, score=-3.9 required=5.0 tests=AWL,BAYES_00,NO_RECEIVED,
	NO_RELAYS autolearn=unavailable version=3.1.0
X-ListServer: CommuniGate Pro LIST 4.2.10
List-Unsubscribe: <mailto:stagecraft-off [at] theatrical.net>
List-ID: <stagecraft.theatrical.net>
Message-ID: <list-28616309 [at] prxy.net>
From: "Stagecraft" <stagecraft [at] theatrical.net>
Sender: "Stagecraft" <stagecraft [at] theatrical.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Precedence: list
Subject: Stagecraft Digest #735
Date: Sun, 19 Mar 2006 03:00:25 -0800
MIME-Version: 1.0
Content-Type: text/plain; charset="ISO-8859-1"
Content-Disposition: inline
X-TFF-CGPSA-Version: 1.4
X-prxy-Spam-Filter: Scanned

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

Stagecraft Digest, Issue #735

 1. Re: Technical Timeline
    by "Matthew Breton" <theatricalmatt [at] hotmail.com>
 2. Re: Technical Timeline
    by Charles Fraser <charlie [at] charliefraser.com>
 3. Mo. Drama Teacher Resigns in Play Flap
    by Theatre Safety Programs <theatresafe [at] jgorrell.com>
 4. Re: Mo. Drama Teacher Resigns in Play Flap
    by "Ryan Bible" <ryan.bible [at] gmail.com>
 5. Re: Avab Dimmers
    by "Aaron W. Braun" <ABraun [at] ArdeeDesign.com>
 6. Re: Avab Dimmers
    by Steve Shelley <mrtemplate [at] earthlink.net>
 7. Tricking directors...was tech timeline
    by b Ricie <b_ricie [at] yahoo.com>
 8. Building Cues Live (was tech timeline)
    by Kim Hartshorn <kim.hartshorn [at] plattsburgh.edu>
 9. Re: Mo. Drama Teacher Resigns in Play Flap
    by "RD" <doomster [at] worldnet.att.net>
10. Re: Firearms Regulations
    by "RD" <doomster [at] worldnet.att.net>
11. Re: Firearms Regulations
    by "RD" <doomster [at] worldnet.att.net>
12. Re: Firearms Regulations
    by Jerry Durand <jdurand [at] interstellar.com>
13. Electricians needed-last minute call
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
14. Re: Firearms Regulations
    by "RD" <doomster [at] worldnet.att.net>
15. Re: Technical Timeline
    by FrankWood95 [at] aol.com
16. Re: Mo. Drama Teacher Resigns in Play Flap
    by FrankWood95 [at] aol.com
17. lighting changes
    by "David R. Krajec" <drkrajec [at] stritch.edu>
18. Re: lighting changes
    by "RD" <doomster [at] worldnet.att.net>
19. good book gift from LD's
    by "David R. Krajec" <drkrajec [at] stritch.edu>
20. WAS Re: Article of fall protection NOW Weather
    by "kosteral [at] juno.com" <kosteral [at] juno.com>
21. Re: Technical Timeline
    by CB <psyd [at] cox.net>
22. Re: Conversion tables (was: Re: Article of fall protection)
    by CB <psyd [at] cox.net>
23. Re: Technical Timeline
    by CB <psyd [at] cox.net>
24. Re: Construction of Stage Flats
    by shifting [at] shifting.ca (Benjamin Eastep)
25. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
26. Re: Construction of Stage Flats
    by Jerry Durand <jdurand [at] interstellar.com>
27. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
28. Re: Construction of Stage Flats
    by "RD" <doomster [at] worldnet.att.net>
29. Australia and massive explosions.
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
30. Re: Rental Elevator
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
31. Re: Australia and massive explosions.
    by Andy Ciddor <aciddor [at] kilowatt.com.au>
32. SCR effects on Incoming voltage?
    by "Chris Warner" <cdw.lighting [at] gmail.com>
33. University of Arkansas at Little Rock
    by Shelly A Ford <sford4 [at] aug.edu>
34. Re: Construction of Stage Flats
    by Jim Hyslop <theatre [at] dreampossible.ca>
35. Re: Mo. Drama Teacher Resigns in Play Flap
    by Kevin Lee Allen <klad [at] klad.com>
36. Re: Firearms Regulations
    by Dale Farmer <dale [at] cybercom.net>
37. Re: Mo. Drama Teacher Resigns in Play Flap
    by Greg Persinger <greg [at] vividillumination.com>
38. Interesting (dream) Job Posting
    by "Ben Blackburn" <2blackburns [at] gmail.com>

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

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

Message-ID: <BAY112-F15AC35810C5BD3ADE4045CDAE50 [at] phx.gbl>
In-Reply-To: <list-28570322 [at] prxy.net>
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
Subject: Re: Technical Timeline
Date: Sat, 18 Mar 2006 06:55:49 -0500

>the LD felt a lack of direction and needed more.
just
"I don't feel a strong sense of direction" is sometimes a code-phrase for 
having other problems with the production, which might be entirely unrelated 
to you -- but, couching it that way would be a sign of insecurity, yes.

"Lack of direction" is a pretty unspecific complaint -- lack of artistic 
direction?  Or is the LD referring to what he or she sees onstage, or among 
the group?  Or it might have more to do with not having the inventory he or 
she wants, or the time, or the crew, to do it to their level of 
satisfaction. And, to open up a can of worms, in what way _should_ it be 
directed (at least in that person's eyes)?

As for the notes you gave, they vary between the mechanical (specials on 
monologues) and the starting-to-get-underneath direction regarding mood 
(spooky) and tempo (slow and steady).  I'm more interested in why we, as a 
group, are telling the story, with how the story unfolds, and how the 
audience identifies, and identifies with, the characters in it.  You can't 
boil that down to a single sentence, though; sometimes you can't even put it 
on paper.  That's why we're doing theater, instead of writing poetry -- 
because the passion of the play can't be understood any other way.


Matthew Breton
Technical Director
Cambridge Family YMCA Theater
(617) 447-5261 (cell)
www.cambymca.org





>From: Kate Daly <kdaly973 [at] comcast.net>
>Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
>To: "Stagecraft" <stagecraft [at] theatrical.net>
>Subject: Re: Technical Timeline
>Date: Fri, 17 Mar 2006 15:50:50 -0500
>
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>
>> > I obviously meant to put an apostrophe and a trailing "s" at the end of 
>>the
>> >  last word, although wasting directors may well be an idea whose time 
>>has
>> >  come....
>
>Here's a question. Last show I directed, I had an LD whose vision and skill 
>I trusted more than I trusted myself to micro-manage the light design.  For 
>one thing, I'm woefully ignorant about that's possible and what isn't. If I 
>ask for a thing, I have no idea, really, whether the LD will say 
>"piece-a-cake" or "are you on drugs?"
>
>So we sat down in the theater with the script and my notes, and I told her 
>"I need specials for these monologs, and the actors will be standing here" 
>and "in this scene I think it should look spooky" and "in general, all 
>fades should be slow except for these two fast blackouts." And then I said 
>"You're the pro, you know the show, you know my vision of it - go forth and 
>light design." And I backed away from it and left her to it.
>
>I thought I was deferring to her superior art in the light design area, but 
>my stage manager told me that the LD felt a lack of direction and needed 
>more. I was surprised. What do you think -- do you want a director keeping 
>a firmer hand on the wheel, or was my LD a little insecure?
>
>-Kate
>
>

_________________________________________________________________
Don’t just search. Find. Check out the new MSN Search! 
http://search.msn.click-url.com/go/onm00200636ave/direct/01/


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

Message-ID: <441C0A10.1060008 [at] charliefraser.com>
Date: Sat, 18 Mar 2006 08:24:32 -0500
From: Charles Fraser <charlie [at] charliefraser.com>
Subject: Re: Technical Timeline
References: <list-28566967 [at] prxy.net> <list-28570322 [at] prxy.net>
In-Reply-To: <list-28570322 [at] prxy.net>

Kate, I have been on both sides of the fence and the hardest for me is
directing and having someone else tend to the lights. As a designer and
tech I have had micromanaging directors and LD's which drove me crazy I
try to be more hands off I rarely sit behind my techs and  always give
at least  2 good notes for 1 bad. I have directed about 5 times over the
year and I grit my teeth and let the LD do their work resisting the urge
to do a light plot, dimmer schedule and cue sheets myself. I find I want
general concepts from my directors and I will fill in the blanks. I have
had one director come to me and said I want the stage lit in all blue
and very very dim, we were doing "Mousetrap". I knew that was not
feasible or practical, instead of the "are you crazy" comment I bit my
tongue and said "let me do my design and I will show you what I come up
with. I went a little heavier on the blue that I might have without his
vision, but I set about being true to the playwright and the director's
vision. He loved what I did, but if I got into a debate we would have
had blue light that is very very dim. I think a good LD's job is to take
the director's vision and put it into practice being true to the
production as a whole. I remember reading a textbook many years ago with
case studies and war stories Tharon Musser, a famous lighting designer
once turn all of the lights off on stage for a Doug Henning production
when the assistants and director was complaining you could still see
Henning's hands, the director got the point ;-)

Now, back to the question ;-) I think the if the LD didn't understand
spooky, she should have pressed you further, thats what I do. I might
have said "define spooky". Our show in production now, "Hamlet" the
director told me "I want a ghost" well I gave him some options, gobo's
rear projections, video, etc..... "I want a ghost" My cohort who designs
the poster's, programs, and cards, sent me a jpg which I had made into a
gobo and success. The director's job (or any of the management (LD, SM,
TD, etc....) IMHO is to give good vision and instill confidence in the
staff. A good LD is to take that and put it into concept. Your original
idea of what should happen is right.


Charlie



Kate Daly wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>
>> > I obviously meant to put an apostrophe and a trailing "s" at the
>> end of the
>> >  last word, although wasting directors may well be an idea whose
>> time has
>> >  come....
>
>
> Here's a question. Last show I directed, I had an LD whose vision and
> skill I trusted more than I trusted myself to micro-manage the light
> design.  For one thing, I'm woefully ignorant about that's possible
> and what isn't. If I ask for a thing, I have no idea, really, whether
> the LD will say "piece-a-cake" or "are you on drugs?"
>
> So we sat down in the theater with the script and my notes, and I told
> her "I need specials for these monologs, and the actors will be
> standing here" and "in this scene I think it should look spooky" and
> "in general, all fades should be slow except for these two fast
> blackouts." And then I said "You're the pro, you know the show, you
> know my vision of it - go forth and light design." And I backed away
> from it and left her to it.
>
> I thought I was deferring to her superior art in the light design
> area, but my stage manager told me that the LD felt a lack of
> direction and needed more. I was surprised. What do you think -- do
> you want a director keeping a firmer hand on the wheel, or was my LD a
> little insecure?
>
> -Kate
>
>
>


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

Message-Id: <7.0.1.0.2.20060318080638.022014d0 [at] earthlink.net>
Date: Sat, 18 Mar 2006 08:08:19 -0700
From: Theatre Safety Programs <theatresafe [at] jgorrell.com>
Subject: Mo. Drama Teacher Resigns in Play Flap

I didn't make this up -- how's that for artistic freedom in the 21st century

Mo. Drama Teacher Resigns in Play Flap
March 18, 2006 9:24 AM EST
COLUMBIA, Mo. - A central Missouri high school drama teacher whose 
spring play was canceled after complaints about tawdry content in one 
of her previous productions will resign rather than face a possible firing.

"It became too much to not be able to speak my mind or defend my 
students without fear or retribution," said Fulton High School 
teacher Wendy DeVore.

DeVore's students were to perform Arthur Miller's "The Crucible," a 
drama set during the 17th Century Salem witch trials.

But after a handful of Callaway Christian Church members complained 
about scenes in the fall musical "Grease" that showed teens smoking, 
drinking and kissing, Superintendent Mark Enderle told DeVore to find 
a more family-friendly substitute.

DeVore chose Shakespeare's "A Midsummer Night's Dream," a classic 
romantic comedy with its own dicey subject matter, including suicide, 
rape and losing one's virginity.

DeVore, 31, a six-year veteran teacher, said administrators told her 
that her annual contract might not be renewed.

"Maybe I need to find a school that's a better match," she said.

Both Enderle and the high school principal declined to discuss 
DeVore's resignation, citing privacy concerns. The resignation must 
still be approved by the school board.

Publicity over the drama debate, including a front-page story in The 
New York Times, has cast an unflattering light on Fulton as an 
intolerant small town, several of DeVore's colleagues said.

"We have become a laughingstock," teacher Paula Fessler told The Fulton Sun.

from the AP

Jerry Gorrell
Theatre Safety Programs



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

Message-ID: <16956f6b0603180726w6208b6ej80912e0c01dfb756 [at] mail.gmail.com>
Date: Sat, 18 Mar 2006 10:26:41 -0500
From: "Ryan Bible" <ryan.bible [at] gmail.com>
Subject: Re: Mo. Drama Teacher Resigns in Play Flap
In-Reply-To: <list-28591226 [at] prxy.net>
References: <list-28591226 [at] prxy.net>

its sad, simply sad...

On 3/18/06, Theatre Safety Programs <theatresafe [at] jgorrell.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I didn't make this up -- how's that for artistic freedom in the 21st cent=
ury
>
> Mo. Drama Teacher Resigns in Play Flap
> March 18, 2006 9:24 AM EST
> COLUMBIA, Mo. - A central Missouri high school drama teacher whose
> spring play was canceled after complaints about tawdry content in one
> of her previous productions will resign rather than face a possible firin=
g.
>
> "It became too much to not be able to speak my mind or defend my
> students without fear or retribution," said Fulton High School
> teacher Wendy DeVore.
>
> DeVore's students were to perform Arthur Miller's "The Crucible," a
> drama set during the 17th Century Salem witch trials.
>
> But after a handful of Callaway Christian Church members complained
> about scenes in the fall musical "Grease" that showed teens smoking,
> drinking and kissing, Superintendent Mark Enderle told DeVore to find
> a more family-friendly substitute.
>
> DeVore chose Shakespeare's "A Midsummer Night's Dream," a classic
> romantic comedy with its own dicey subject matter, including suicide,
> rape and losing one's virginity.
>
> DeVore, 31, a six-year veteran teacher, said administrators told her
> that her annual contract might not be renewed.
>
> "Maybe I need to find a school that's a better match," she said.
>
> Both Enderle and the high school principal declined to discuss
> DeVore's resignation, citing privacy concerns. The resignation must
> still be approved by the school board.
>
> Publicity over the drama debate, including a front-page story in The
> New York Times, has cast an unflattering light on Fulton as an
> intolerant small town, several of DeVore's colleagues said.
>
> "We have become a laughingstock," teacher Paula Fessler told The Fulton S=
un.
>
> from the AP
>
> Jerry Gorrell
> Theatre Safety Programs
>
>
>


--
Ryan Bible

614-496-1075

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

Reply-To: <ABraun [at] ArdeeDesign.com>
From: "Aaron W. Braun" <ABraun [at] ArdeeDesign.com>
Subject: RE: Avab Dimmers
Date: Sat, 18 Mar 2006 10:42:23 -0600
Message-ID: <001201c64aaa$ef321390$6501a8c0 [at] XP2600>
In-Reply-To: <list-28587296 [at] prxy.net>

Andrew,

It has been a long time since I have seen one of these dimmers and I haven't
found any cheat sheets in my stash regarding the 25-pin connector
configuration for DMX.  And now for something a little more useful...  ETC
bought AVAB a couple of years ago.  I know this buy-out involved the console
line, but I am not sure about the dimmer line.  You may want to give ETC
tech support a call (1-800-688-4116).  They may have access to the
information you need.

Aaron Braun
Ardee Design Group, LLC
Nashville, TN

-----Original Message-----
Do any of you have any experience w. running AVAB DII dimmers w. DMX?  My
church bought 4 of the packs and we're having a bear of a time getting
things working.


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

Date: Sat, 18 Mar 2006 11:58:48 -0500
Subject: Re: Avab Dimmers
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C041A678.A7FB%mrtemplate [at] earthlink.net>
In-Reply-To: <list-28592942 [at] prxy.net>

It might be useful to contact avab america

www.avab.com/

Or avab home

http://www.avab.se

Etc might provide more clarified direction

http://www.avabcontrol.com/about.asp



On 3/18/06 11:42 AM, "Aaron W. Braun" <ABraun [at] ArdeeDesign.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Andrew,
> 
> It has been a long time since I have seen one of these dimmers and I haven't
> found any cheat sheets in my stash regarding the 25-pin connector
> configuration for DMX.  And now for something a little more useful...  ETC
> bought AVAB a couple of years ago.  I know this buy-out involved the console
> line, but I am not sure about the dimmer line.  You may want to give ETC
> tech support a call (1-800-688-4116).  They may have access to the
> information you need.
> 
> Aaron Braun
> Ardee Design Group, LLC
> Nashville, TN
> 
> -----Original Message-----
> Do any of you have any experience w. running AVAB DII dimmers w. DMX?  My
> church bought 4 of the packs and we're having a bear of a time getting
> things working.
> 

-- 
Steve Shelley
(212) 865-2969 home
(917) 334-7625 cell
(212) 749-9117 fax
MrTemplate [at] Earthlink.net
www.fieldtemplate.com


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

Message-ID: <20060318170659.2119.qmail [at] web50605.mail.yahoo.com>
Date: Sat, 18 Mar 2006 09:06:59 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Tricking directors...was tech timeline
In-Reply-To: <list-28587296 [at] prxy.net>

When I am building a set with a very needy director, I
try to find the one set piece that he/she is concerned
about. I will figure out how to work it early but not
install it till the end of the build. I will just
stall when asked about it..."yup were working on that,
still have to figure out a few kinks." By distracting
the director, the rest of the build will be smooth
sailing.


Brian Rice 
508-685-0716
b_ricie [at] yahoo.com
"Blessed are the cracked: For it is they who let in the 
light."

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

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

Message-ID: <20060318133434.89gsf30o0gggk0ws [at] webmail.plattsburgh.edu>
Date: Sat, 18 Mar 2006 13:34:34 -0500
From: Kim Hartshorn <kim.hartshorn [at] plattsburgh.edu>
Subject: Building Cues Live (was tech timeline)
References: <list-28587296 [at] prxy.net>
In-Reply-To: <list-28587296 [at] prxy.net>


One thing I do that directors seem to like is to build cues, or looks, during
live rehearsals.  I have found that far from being disruptive to the 
rehearsal,
it can often eliminate the need for a traditional dry tech or stop and go with
actors.

The benefit for the director is that they do not lose stage time at a crucial
point in the rehearsal process.  An additional benefit for the director 
is that
they begin to see a synthesis of the production, scenery, lighting, 
blocking as
opposed to an isolated...let me look at the actors...let me look at the lights
point of view.

A great benefit to the light designer is that the director sees the lights the
way the audience sees the lights, in other words they really don't pay
attention unless it looks really wrong, but afterwords they have a sense that
the stage looked pretty cool (as in neat/nice/artistic).  This technique also
allows the light designer to more fully understand many timing and focus
issues. For example there have been many times where I have seriously 
rethought
a particular cue because once i actually had the board in front of me and the
actors moving I realized how little consequence a partiuclar cue set may have
been.

When setting cues in a dry tech with a director you can't really fault them if
what they are seeing is primarilly scenic lighting, it is hard enough for us
designers not to do that.  The main purpose of the dry tech for lights that
most of us old guys remember was that we needed that time to figure out how we
were going to be running the manual boards, planning the presets, which 
cues to
do on individual dimmers and which were mastered. Those were the old old days
when if you waited to figure that stuff out with actors on stage it could only
turn very grumpy. The modern light desk has eliminated that traditional need
for the dry tech.

Now what we have started using the dry tech for, and have found extremely
useful, is a dedicated piece of time approximately the same as the show where
the crew can gather as a group for the first time.  The department heads can
take time to go over issues with their crews, the stage manager can organize,
the TD can tape down a few things, the headsets can get put out and 
tested, the
work lights can get set.  Props can get everything in order.  Holes in the
planning or manning can be identified.  In general it makes for a first
technical rehearsal of very low stress.

good luck

Kim Hartshorn



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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Mo. Drama Teacher Resigns in Play Flap
Date: Sat, 18 Mar 2006 11:36:27 -0700
Message-ID: <011101c64aba$de6ebe90$f5ee0918 [at] doom1>
In-Reply-To: <list-28591226 [at] prxy.net>

I have been following this case for some time in the news, having lived many
places in Missouri and having taught drama there .... and know of the
problems. A very strong Missouri Lutheran Synod group there ....very strong.

I had similar problems, wherever I directed, but managed to convince those
who were in power and authority that we were working for the students. A
friend of my who coauthored Inherit the Wind, had that problem when his
plays were produced. Communities were just not ready for them. 
My Waiting for Godot and Bernarda Alba and several Brecht plays also had
that problem. One has to know their audience and educate the community.
Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Theatre
Safety Programs
Sent: Saturday, March 18, 2006 8:08 AM
To: Stagecraft
Subject: Mo. Drama Teacher Resigns in Play Flap

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

I didn't make this up -- how's that for artistic freedom in the 21st century

Mo. Drama Teacher Resigns in Play Flap
March 18, 2006 9:24 AM EST
COLUMBIA, Mo. - A central Missouri high school drama teacher whose 
spring play was canceled after complaints about tawdry content in one 
of her previous productions will resign rather than face a possible firing.

"It became too much to not be able to speak my mind or defend my 
students without fear or retribution," said Fulton High School 
teacher Wendy DeVore.

DeVore's students were to perform Arthur Miller's "The Crucible," a 
drama set during the 17th Century Salem witch trials.

But after a handful of Callaway Christian Church members complained 
about scenes in the fall musical "Grease" that showed teens smoking, 
drinking and kissing, Superintendent Mark Enderle told DeVore to find 
a more family-friendly substitute.

DeVore chose Shakespeare's "A Midsummer Night's Dream," a classic 
romantic comedy with its own dicey subject matter, including suicide, 
rape and losing one's virginity.

DeVore, 31, a six-year veteran teacher, said administrators told her 
that her annual contract might not be renewed.

"Maybe I need to find a school that's a better match," she said.

Both Enderle and the high school principal declined to discuss 
DeVore's resignation, citing privacy concerns. The resignation must 
still be approved by the school board.

Publicity over the drama debate, including a front-page story in The 
New York Times, has cast an unflattering light on Fulton as an 
intolerant small town, several of DeVore's colleagues said.

"We have become a laughingstock," teacher Paula Fessler told The Fulton Sun.

from the AP

Jerry Gorrell
Theatre Safety Programs



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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Firearms Regulations
Date: Sat, 18 Mar 2006 12:01:08 -0700
Message-ID: <012f01c64abe$5142c5d0$f5ee0918 [at] doom1>
In-Reply-To: <list-28571006 [at] prxy.net>

Because I am on so many committees with NFPA since 1970, I meet regularly
with them, all year, and with the BATF groups, six of them. We last met in
Pittsburgh a month ago, and I asked about the new ATF book, it is not ready
yet, but will be out son. Dr. doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jerry
Durand
Sent: Friday, March 17, 2006 2:14 PM
To: Stagecraft
Subject: Firearms Regulations

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

We have a spare copy of the ATF book "Federal Firearms Regulations 
Reference Guide 2005", anyone that wants it can have it for the cost 
of shipping.

Several people I know with ATF explosives permits received this 
recently, it seems a bunch were sent out by mistake.  Since we don't 
do guns (well, mortars for fireworks don't count), we don't need it.

Contact me off-list.

Publication #5300.4, September 2005, 244 pages.

-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Firearms Regulations
Date: Sat, 18 Mar 2006 12:02:03 -0700
Message-ID: <013001c64abe$720b1b50$f5ee0918 [at] doom1>
In-Reply-To: <list-28571006 [at] prxy.net>

I know that most of you meet with the local BATF people, fortunately I meet
mostly with the Washington,D.C. group, many of whom are long time friends at
the Bureau. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jerry
Durand
Sent: Friday, March 17, 2006 2:14 PM
To: Stagecraft
Subject: Firearms Regulations

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

We have a spare copy of the ATF book "Federal Firearms Regulations 
Reference Guide 2005", anyone that wants it can have it for the cost 
of shipping.

Several people I know with ATF explosives permits received this 
recently, it seems a bunch were sent out by mistake.  Since we don't 
do guns (well, mortars for fireworks don't count), we don't need it.

Contact me off-list.

Publication #5300.4, September 2005, 244 pages.

-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



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

Date: Sat, 18 Mar 2006 11:08:03 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Firearms Regulations
In-reply-to: <list-28595386 [at] prxy.net>
Message-id: <7.0.1.0.0.20060318110217.01f58a68 [at] interstellar.com>
References: <list-28571006 [at] prxy.net> <list-28595386 [at] prxy.net>

At 11:01 AM 3/18/2006, you wrote:
>Because I am on so many committees with NFPA since 1970, I meet regularly
>with them, all year, and with the BATF groups, six of them. We last met in
>Pittsburgh a month ago, and I asked about the new ATF book, it is not ready
>yet, but will be out son. Dr. doom

My point is that our permit does not cover firearms, only 
explosives.  The last paper book of regulations on that is the 
"Orange Book" from 2000.

Several pyros have said they also received this book, the ATF can't 
explain why.

(For anyone confused, gun powder (smokeless and black) is not a 
dangerous explosive if you intend to use it in a gun.  If you don't 
own a gun, then it's a dangerous explosive and a felony to have any 
quantity of unless you have an explosives permit and store it in a 
magazine way out in a field.  Clear?)



-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: Electricians needed-last minute call
Date: Sat, 18 Mar 2006 14:21:41 -0500
Message-ID: <000501c64ac1$308da2d0$6501a8c0 [at] Dell>
In-Reply-To: <list-28594914 [at] prxy.net>

I need a coupla electricians on Thursday, 23 March, 2006, in Stamford, =
CT
(can provide transportation from NYC and you'll be paid for your travel =
time
from and to Manhattan.  The gig pays $15/hour.

Email me at jeff [at] jeffsalzberg.com

No, Chris....


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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Firearms Regulations
Date: Sat, 18 Mar 2006 12:22:45 -0700
Message-ID: <014301c64ac1$5620ede0$f5ee0918 [at] doom1>
In-Reply-To: <list-28595533 [at] prxy.net>

Many of the regulations have changed, due to Homeland Security ...and
sometimes people who work with certain explosives get into the mix from
government regulations. Errors are made .... they say. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jerry
Durand
Sent: Saturday, March 18, 2006 12:08 PM
To: Stagecraft
Subject: Re: Firearms Regulations

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

At 11:01 AM 3/18/2006, you wrote:
>Because I am on so many committees with NFPA since 1970, I meet regularly
>with them, all year, and with the BATF groups, six of them. We last met in
>Pittsburgh a month ago, and I asked about the new ATF book, it is not ready
>yet, but will be out son. Dr. doom

My point is that our permit does not cover firearms, only 
explosives.  The last paper book of regulations on that is the 
"Orange Book" from 2000.

Several pyros have said they also received this book, the ATF can't 
explain why.

(For anyone confused, gun powder (smokeless and black) is not a 
dangerous explosive if you intend to use it in a gun.  If you don't 
own a gun, then it's a dangerous explosive and a felony to have any 
quantity of unless you have an explosives permit and store it in a 
magazine way out in a field.  Clear?)



-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



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

From: FrankWood95 [at] aol.com
Message-ID: <2e5.4227b39.314dbc9d [at] aol.com>
Date: Sat, 18 Mar 2006 14:42:21 EST
Subject: Re: Technical Timeline

In a message dated 18/03/06 04:31:31 GMT Standard Time, billn [at] peak.org writes:

> You are fortunate to have rehearsals, probably with a full set, before dry
>  tech. Many of us are not that fortunate, we are lucky to have the set half
>  painted by dry tech. There is generally little or no chance of setting
>  even tentative light cues prior to that time.

I know. And it's not always the case. Often the paint crew are working during 
rehearsals, and complain when I turn the lights down. Hell, sometimes the 
construction team are. But usually the base colours are applied, and the set will 
be substantially complete. And, of course, the actors are there, which gives 
me some idea of what my lighting will look like on them. 

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <231.8e227df.314dc049 [at] aol.com>
Date: Sat, 18 Mar 2006 14:58:01 EST
Subject: Re: Mo. Drama Teacher Resigns in Play Flap

In a message dated 18/03/06 15:08:47 GMT Standard Time, 
theatresafe [at] jgorrell.com writes:

> DeVore chose Shakespeare's "A Midsummer Night's Dream," a classic 
>  romantic comedy with its own dicey subject matter, including suicide, 
>  rape and losing one's virginity.

 Is this really the play Shakespeare wrote? And what is wrong with "The 
Crucible"? It is a powerful drama written as a response to the McCarthy era. Maybe 
the locals wish that it were back.


Frank Wood

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

Reply-To: <drkrajec [at] stritch.edu>
From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: lighting changes
Date: Sat, 18 Mar 2006 14:48:41 -0600
Message-ID: <JKEMJFLLJELICALBEPDPGEJDCMAA.drkrajec [at] stritch.edu>
In-Reply-To: <list-28587296 [at] prxy.net>

Frank,
What you're referring to is what some people call "French alterations".  You
take the note, go home and get a good nights sleep.  The next day, when the
director asks if you made the changes, you say, "yes."  They then look at it
and say, "Now isn't that better?"

I have been accused of doing this but I have never done it.  I take into
consideration everything the director says and look at it after rehearal in
my own time.  I then tweek.  However, I have experienced what you state.

It just goes to show that lighting is subjective and is bound by time, life,
mood and hundreds of other factors.  It makes me wonder how we (the LD and
director) are effected by a twelve hour tech in the dark.  Is the cue
written in the first hour as good as the last?  Have we become over-tired,
over-stimulated, over-caffeinated to do good work?

Hmmm.

DK

-----Original Message-----
There's a well known answer to this. You take it down a lot further, and
when
the response "No, no, that's too far. Bring it back up a bit" comes, you
restore it to its previous level. It seldom fails.

Frank Wood



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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Cc: drkrajec [at] stritch.edu
Subject: RE: lighting changes
Date: Sat, 18 Mar 2006 13:55:28 -0700
Message-ID: <001201c64ace$4a23b3d0$f5ee0918 [at] doom1>
In-Reply-To: <list-28597503 [at] prxy.net>

Truth will out. Have we not all done this. 
The one I like the best it: a close friend of the Director, on Broadway,
sees the show, and after it is all over, a real bomb, the friend comes up
and pats the Director on the shoulder, and with a smile and great glee, say:
Well, George, You did it again!" Pays your money takes your choice. doom

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of David R.
Krajec
Sent: Saturday, March 18, 2006 1:49 PM
To: Stagecraft
Subject: lighting changes

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

Frank,
What you're referring to is what some people call "French alterations".  You
take the note, go home and get a good nights sleep.  The next day, when the
director asks if you made the changes, you say, "yes."  They then look at it
and say, "Now isn't that better?"

I have been accused of doing this but I have never done it.  I take into
consideration everything the director says and look at it after rehearal in
my own time.  I then tweek.  However, I have experienced what you state.

It just goes to show that lighting is subjective and is bound by time, life,
mood and hundreds of other factors.  It makes me wonder how we (the LD and
director) are effected by a twelve hour tech in the dark.  Is the cue
written in the first hour as good as the last?  Have we become over-tired,
over-stimulated, over-caffeinated to do good work?

Hmmm.

DK

-----Original Message-----
There's a well known answer to this. You take it down a lot further, and
when
the response "No, no, that's too far. Bring it back up a bit" comes, you
restore it to its previous level. It seldom fails.

Frank Wood



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

Reply-To: <drkrajec [at] stritch.edu>
From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: good book gift from LD's
Date: Sat, 18 Mar 2006 15:12:13 -0600
Message-ID: <JKEMJFLLJELICALBEPDPAEJECMAA.drkrajec [at] stritch.edu>
In-Reply-To: <list-28587296 [at] prxy.net>

This could be a great "good show" present for some directors.

Light on the Subject:  Stage Lighting for directors and actors and the rest
of us by David Hays (ISBN 0-87910-126-1)

DK



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

From: "kosteral [at] juno.com" <kosteral [at] juno.com>
Date: Sat, 18 Mar 2006 21:23:27 GMT
Subject: WAS Re: Article of fall protection NOW Weather
Message-Id: <20060318.132425.9824.514580 [at] webmail56.nyc.untd.com>

Believe it or not, there actually are some of us who prefer -10'F to +10=
0'F!  I've spent my entire life living above 42'N latitude.  Cold weathe=
r, I like to say, keeps the bugs small and keeps the riff-raff out!

Allison Koster
LD/ATD
Carleton College
Northfield, MN

Chris Babbie wrote:

I would guess that more than fifty percent of the population of each of
those cities would trade snowfall for a winter that didn't fall below 5 =
or 10 degrees. =



________________________________________________________________________=

Try Juno Platinum for Free! Then, only $9.95/month!
Unlimited Internet Access with 1GB of Email Storage.
Visit http://www.juno.com/value to sign up today!



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

Message-Id: <3.0.6.32.20060318143419.00d32a70 [at] pop.west.cox.net>
Date: Sat, 18 Mar 2006 14:34:19
From: CB <psyd [at] cox.net>
Subject: Re: Technical Timeline

>There's a well known answer to this. You take it down a lot further, and
when 
>the response "No, no, that's too far. Bring it back up a bit" comes, you 
>restore it to its previous level. It seldom fails.

Some analogy to 'Phantom Mixing' in sound. I was opping for a fairly renown
designer who said, and I quote, "Take it down one dB.  No, split the
difference."  It took me a while, but I finally figured out that the
director was saying "It should be quieter here", and the designer thought
that the level was fine.  Rather than try to convince the director, He gave
me a note over the headset, with the director standing right there, to
lower teh volume on that cue.  Once we had run the cue at the 'new level',
he' suggest as to how it might be too low at that point. If the director
agreed with him, he'd give be the note to bump it up half a dB. Yup, half a
dB.  If he'da told me what he needed ahead of time, I'da been happy to have
obliged, running the cue at the original value over and over again till the
director thought it was low enough.
				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: <3.0.6.32.20060318143625.00d32a70 [at] pop.west.cox.net>
Date: Sat, 18 Mar 2006 14:36:25
From: CB <psyd [at] cox.net>
Subject: Re: Conversion tables (was: Re: Article of fall protection)

>Ahem, sir.
>Lists in this instance is possessive and thus an apostrophe is called 
>for and would be List's.  Likewise english should be capitalized using 
>the big letter E. 

I keep sayin' as to how I ain't qualified!  ; >
				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: <3.0.6.32.20060318144635.00d32a70 [at] pop.west.cox.net>
Date: Sat, 18 Mar 2006 14:46:35
From: CB <psyd [at] cox.net>
Subject: Re: Technical Timeline

>I thought I was deferring to her superior art in the light design area, but 
>my stage manager told me that the LD felt a lack of direction and needed 
>more. I was surprised. What do you think -- do you want a director keeping 
>a firmer hand on the wheel, or was my LD a little insecure?

Communication breakdown.  Your LD should have been able to come to you and
tell you that she wanted more direction, instead of telling the SM.  Your
cue was to go to the LD and (prolly over a beer or a coffee or sometheing
casual) and suggest that you could provide lots more detailed direction if
that's what she wanted, but you thought you'd allow her the artistic
freedom to creat.  At that point she should be able to tell you just how
creative she feels like being.
OTOH, I have designed cues for directors who down't want to make artistic
decisions until cues have been recorded.  "Nope, that's not it!"  "Well,
what would you like?" "Well, I'm not sure.  I know that that one is wrong,
though.  Try some other things and bring them to me."  Next day, "Nope,
that's not it!"
Either you know what you want, of you'll let me give you what you need.
The whole "Bring me all of it and I'll pick out what I want" isn't a
directorial style, its lack of vision.
You aren't one of those, are you Kate?  Somehow I didn't think so.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Date: Sat, 18 Mar 2006 15:23:52 -0700
Cc: greg [at] hypersoft.zzn.com
Subject: Re: Construction of Stage Flats
Message-ID: <20060318222352.GA29353 [at] shifting.ca>
References: <list-28515336 [at] prxy.net> <list-28518149 [at] prxy.net> <list-28524438 [at] prxy.net>
In-Reply-To: <list-28524438 [at] prxy.net>
From: shifting [at] shifting.ca (Benjamin Eastep)

Don't tell me I'm the only one having visions of sets crashing through the
deck into the trap room...

Ben Eastep

On Thu, Mar 16, 2006 at 01:03:49AM -0800, NODEraser wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> On 3/15/06, Jon Ares <jonares [at] hevanet.com> wrote:
> >
> > Personally, I set forms, rig rebar, and pour concrete for my flats.
> >
> > Ok, not really, but if we're talking about "overkill" for theatre sets.....
> >
> >      - Jon Ares
> > www.hevanet.com/acreative
> >
> 
> Boy, are they a bitch to move... Fortunately, it's been a few years
> since I was a freshling under Jon and I don't have to worry about
> those things anymore.

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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Construction of Stage Flats
Date: Sat, 18 Mar 2006 15:28:29 -0700
Message-ID: <006401c64adb$483f2970$f5ee0918 [at] doom1>
In-Reply-To: <list-28599208 [at] prxy.net>

No, I am having nightmares with a sense of reality. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Benjamin
Eastep
Sent: Saturday, March 18, 2006 3:24 PM
To: Stagecraft
Cc: greg [at] hypersoft.zzn.com
Subject: Re: Construction of Stage Flats

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

Don't tell me I'm the only one having visions of sets crashing through the
deck into the trap room...

Ben Eastep

On Thu, Mar 16, 2006 at 01:03:49AM -0800, NODEraser wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> On 3/15/06, Jon Ares <jonares [at] hevanet.com> wrote:
> >
> > Personally, I set forms, rig rebar, and pour concrete for my flats.
> >
> > Ok, not really, but if we're talking about "overkill" for theatre
sets.....
> >
> >      - Jon Ares
> > www.hevanet.com/acreative
> >
> 
> Boy, are they a bitch to move... Fortunately, it's been a few years
> since I was a freshling under Jon and I don't have to worry about
> those things anymore.


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

Date: Sat, 18 Mar 2006 14:29:45 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Construction of Stage Flats
In-reply-to: <list-28599208 [at] prxy.net>
Message-id: <C4212AC4-8AAE-4864-93B1-053423AB095B [at] interstellar.com>
References: <list-28515336 [at] prxy.net> <list-28518149 [at] prxy.net>
 <list-28524438 [at] prxy.net> <list-28599208 [at] prxy.net>


On Mar 18, 2006, at 2:23 PM, Benjamin Eastep wrote:

> Don't tell me I'm the only one having visions of sets crashing  
> through the
> deck into the trap room...
>

I seem to remember a stage play a year or two ago where they featured  
their reality.  The building walls were real brick!

My wife and I worked on a play once with a brand new designer.  All  
the flats were also 2x4 and sheet-rock, and he ran out of budget  
quite early on.  Also, during the run one wall fell over.  Missed all  
the actors, but made QUITE a crash.  After a beat, one actor said  
"Earthquake!" (the play was set in San Francisco).  Got a laugh and  
they went on, stepping over the remains of the wall.



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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Construction of Stage Flats
Date: Sat, 18 Mar 2006 15:31:47 -0700
Message-ID: <007901c64adb$be9e0c80$f5ee0918 [at] doom1>
In-Reply-To: <list-28599362 [at] prxy.net>

And jerry, there are other instances too horrific to mention in the past
.... and some very humorous, but nonetheless not too good. 
Doom 
-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jerry
Durand
Sent: Saturday, March 18, 2006 3:30 PM
To: Stagecraft
Subject: Re: Construction of Stage Flats

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


On Mar 18, 2006, at 2:23 PM, Benjamin Eastep wrote:

> Don't tell me I'm the only one having visions of sets crashing  
> through the
> deck into the trap room...
>

I seem to remember a stage play a year or two ago where they featured  
their reality.  The building walls were real brick!

My wife and I worked on a play once with a brand new designer.  All  
the flats were also 2x4 and sheet-rock, and he ran out of budget  
quite early on.  Also, during the run one wall fell over.  Missed all  
the actors, but made QUITE a crash.  After a beat, one actor said  
"Earthquake!" (the play was set in San Francisco).  Got a laugh and  
they went on, stepping over the remains of the wall.



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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Construction of Stage Flats
Date: Sat, 18 Mar 2006 15:33:49 -0700
Message-ID: <007a01c64adc$078cb400$f5ee0918 [at] doom1>
In-Reply-To: <list-28599362 [at] prxy.net>

Perhaps not as horrendous as the one in NYC on Broadway during the first
Sweeny Todd ...Angela Lansbury on stage, the light pipe came crashing down
..missed her and her co star and they just went on singing. Beats hell out
of meat pies. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jerry
Durand
Sent: Saturday, March 18, 2006 3:30 PM
To: Stagecraft
Subject: Re: Construction of Stage Flats

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


On Mar 18, 2006, at 2:23 PM, Benjamin Eastep wrote:

> Don't tell me I'm the only one having visions of sets crashing  
> through the
> deck into the trap room...
>

I seem to remember a stage play a year or two ago where they featured  
their reality.  The building walls were real brick!

My wife and I worked on a play once with a brand new designer.  All  
the flats were also 2x4 and sheet-rock, and he ran out of budget  
quite early on.  Also, during the run one wall fell over.  Missed all  
the actors, but made QUITE a crash.  After a beat, one actor said  
"Earthquake!" (the play was set in San Francisco).  Got a laugh and  
they went on, stepping over the remains of the wall.



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

Message-ID: <wNcFPVNDqIHEFwUy [at] ntlworld.com>
Date: Sat, 18 Mar 2006 22:32:35 +0000
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Australia and massive explosions.

I know it's quite common for the Yanks to run off into the middle of 
their desert with truckloads of home made pyro and have spontaneous 
"Megablasts".  But does the same thing occur in the Australian desert? 
Or is Australia one of these places that clamps down on dangerous fun?

(Still deciding which country is worth emigrating to.)

-- 
Clive Mitchell
http://www.bigclive.com

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

Message-ID: <YNZPf4OX5IHEFwxd [at] ntlworld.com>
Date: Sat, 18 Mar 2006 22:48:55 +0000
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: Rental Elevator
References: <list-28503312 [at] prxy.net>
In-Reply-To: <list-28503312 [at] prxy.net>

In message <list-28503312 [at] prxy.net>, Stephen E. Rees <Rees [at] fredonia.edu> 
writes
>Hi All,
>Am seeking to rent or borrow a smallish single person elevator for our 
>production of Wizard of OZ.  Max vertical travel is 8'-0".  Depth of 
>opening in deck is 32", and the width could be up to 42" or so.  Will 
>consider any mechanization method.  If we have to build it ourselves, 
>we would do a hand operated winch but motorized is fine too.  Have 
>access to 110 and 208 nearby.

This is where it could have been quite handy to roll in a ribbon lift.

Just use it sensibly to avoid any nasty incidents.

-- 
Clive Mitchell
http://www.bigclive.com

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

Message-Id: <4.3.2.7.2.20060319100634.032f7e80 [at] pop3.kilowatt.com.au>
Date: Sun, 19 Mar 2006 10:24:42 +1100
From: Andy Ciddor <aciddor [at] kilowatt.com.au>
Subject: Re: Australia and massive explosions.
In-Reply-To: <list-28599626 [at] prxy.net>

At 09:32 19.03.2006, Clive Mitchell wrote:
>I know it's quite common for the Yanks to run off into the middle of their 
>desert with truckloads of home made pyro and have spontaneous 
>"Megablasts".  But does the same thing occur in the Australian desert? Or 
>is Australia one of these places that clamps down on dangerous fun?

About 50 years ago, Maralinga, in the South Australian desert was used by 
the Brits to test their nuclear weapons. (We're still clearing up that mess).
Woomera and nearby parts of the SA desert are still used as (non-nuclear) 
weapons, missile and rocket test ranges by governments, universities and 
overseas corporations.
Several places in the north of Oz are used as bombing test ranges for both 
Australian and "allied" (US) air forces.
Mining companies throughout Oz detonate hundreds of thousands of tons of 
commercial explosives in their efforts to turn the continent into one large 
quarry. (Oz is a significant exporter of Iron Ore, Bauxite, Uranium, Lead, 
Zinc, Tin, Silver, etc, etc)
I'm sure that there are many dangerous recreational blasts set off on dad's 
farm as part of rural boys booze-ups.
However, I'm not aware of any groups that get together to set off 
"Megablasts" for the hell of it. But maybe that's because just I don't get 
out enough.

Andy



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

From: "Chris Warner" <cdw.lighting [at] gmail.com>
Subject: SCR effects on Incoming voltage?
Date: Sat, 18 Mar 2006 17:12:19 -0800
Message-ID: <006101c64af2$2bd94c40$6d01a8c0 [at] CHRISLAPTOP>

I have inherited some CD80 dimmers, some of which were non-dims and were
needed as dimmers.  What are the effects on feeds using a non-dim (which
does not have a choke) as a dimmer?

Thanks in advance
Chris


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

Date: Sat, 18 Mar 2006 20:11:09 -0500 (EST)
From: Shelly A Ford <sford4 [at] aug.edu>
Subject: University of Arkansas at Little Rock
Message-id: <6696945.1142730669961.JavaMail.lumadmin [at] northshore>

If anyone has information or experience regarding UALR, please contact 
meofflist.
Thanks,
Shelly

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

Message-ID: <441CBC0C.9030806 [at] dreampossible.ca>
Date: Sat, 18 Mar 2006 21:03:56 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Construction of Stage Flats
References: <list-28515336 [at] prxy.net> <list-28518149 [at] prxy.net> <list-28524438 [at] prxy.net> <list-28599208 [at] prxy.net>
In-Reply-To: <list-28599208 [at] prxy.net>

Benjamin Eastep wrote:
> Don't tell me I'm the only one having visions of sets crashing through the
> deck into the trap room...
Nah - they beef up the support with 36" steel I-beams. No problem.

-- 
Jim Hyslop


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

Date: Sat, 18 Mar 2006 21:14:45 -0500
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: Mo. Drama Teacher Resigns in Play Flap
In-reply-to: <list-28591226 [at] prxy.net>
Message-id: <E2BE1F6C-C504-4468-A653-9C67E3EE7D13 [at] klad.com>
References: <list-28591226 [at] prxy.net>


as well they should be.


On Mar 18, 2006, at 10:08 AM, Theatre Safety Programs wrote:

> "We have become a laughingstock," teacher Paula Fessler told The =20
> Fulton Sun.


-----
Kevin Lee Allen
Architect of Dreams
http://www.klad.com
973.744.6352.voice
201.280.3841.mobile
klad [at] klad.com
=F0




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

Message-ID: <441CC5BB.9070104 [at] cybercom.net>
Date: Sat, 18 Mar 2006 21:45:15 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: Firearms Regulations
References: <list-28571006 [at] prxy.net> <list-28595386 [at] prxy.net> <list-28595533 [at] prxy.net>
In-Reply-To: <list-28595533 [at] prxy.net>

Jerry Durand wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> At 11:01 AM 3/18/2006, you wrote:
>> Because I am on so many committees with NFPA since 1970, I meet regularly
>> with them, all year, and with the BATF groups, six of them. We last 
>> met in
>> Pittsburgh a month ago, and I asked about the new ATF book, it is not 
>> ready
>> yet, but will be out son. Dr. doom
> 
> My point is that our permit does not cover firearms, only explosives.  
> The last paper book of regulations on that is the "Orange Book" from 2000.
> 
> Several pyros have said they also received this book, the ATF can't 
> explain why.
> 
> (For anyone confused, gun powder (smokeless and black) is not a 
> dangerous explosive if you intend to use it in a gun.  If you don't own 
> a gun, then it's a dangerous explosive and a felony to have any quantity 
> of unless you have an explosives permit and store it in a magazine way 
> out in a field.  Clear?)
> 
> 
> 
	From where I sit, the ATF is just a clueless as many of the other 
federal agencies.  They write contradictory regulations, fine or jail 
you for not following the other one.  Their agents don't know their own 
regulations, and if you follow their advice, which turns out to be 
against another of their regulations, you are the one who gets to go to 
jail.   This ignoring the unethical and lazy ones who spend their time 
chasing after small time players for obscure bookkeeping errors, and 
ignoring the cowboys who think they are more badass than dirty harry 
callahan and smarter than the characters on CSI.

    --Dale


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

Date: Sun, 19 Mar 2006 01:23:26 -0600
Subject: Re: Mo. Drama Teacher Resigns in Play Flap
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C042630E.8ECE%greg [at] vividillumination.com>
In-Reply-To: <list-28594949 [at] prxy.net>

on 3/18/06 12:36 PM, RD at doomster [at] worldnet.att.net wrote:

> 
> I have been following this case for some time in the news, having lived many
> places in Missouri and having taught drama there .... and know of the
> problems. A very strong Missouri Lutheran Synod group there ....very strong.


I grew up 30 miles from where this incident took place and that particular
county is very conservative but is more strongly non-denominational then
Lutheran.

It is not that they are so opposed to the arts or the subject matter in any
of the plays mentioned, but instead are very dedicated to the innocence of
their children and would rather see a milder subject matter for the high
school students to present.

Adult actors could do these plays without any controversy and have performed
much racier things in this area without incident.

The people in this area have chosen to live and raise family's there because
of its slower pace, low crime rate, low cost of living, and the conservative
moral convictions of the people in the area.

Just as many on this list feel very strongly that these people are crazy for
their beliefs, they feel just as strongly that they have the right to fight
against what they feel is a negative influence on their children.

As Doom mentioned some communities are not accepting of some subject
matters. You either find what works well in your community and present it or
you will always be fighting a battle.

Yes the town is intolerant as it was unwilling to endure plays that went
against their values, which is their right, but the drama teacher is just as
intolerant pushing her "artistic" choices as she was unwilling to choose
different material that would be better accepted by the community.

I think she was correct in saying she needed to find a better match in
schools as to where to teach. One that would support the material she
desired to produce.

Essentially the people of the area fought against "artistic freedom" to
protect their freedom to raise their children in the best manner they see
fit. Artistic freedom lost as it was a lower priority for the people of the
area. Is this so terrible? The community asked for something more acceptable
to them, not that the theater program be shut down.  The teacher said no,
the community said they didn't want what she was offering and canceled her
play. They didn't ban Grease from ever being performed in town or try to
legislate what type of plays can be written, it never even was an issue
outside of their town, they just asked for something that was more
reflective of their conservative values. Something that better fit them.

Of course this wouldn't go over very well in most larger cities and it
probably wouldn't even be up for discussion in New York City, but this is
why these people live in Fulton, MO. They don't want to be New York and they
certainly don't have New York tastes in art and obviously "artistic freedom"
for high school theater is not high on their priority list.

There are lots of great plays that could have been done that would have
appeased the community and have been just as fun for the kids. Isn't that
what high school theater is all about. Getting to experience performing and
all of the things that come with live theater and having a good time doing
it.

It's too bad that this teacher got hung up on what she couldn't do instead
of thinking that the show must go on and being creative and dedicated to
finding a great show that the kids would have fun doing and the community
would accept and enjoy as well.

Greg Persinger


 















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

Message-ID: <9ba146c80603190045k77300f2bv8de789012511850c [at] mail.gmail.com>
Date: Sun, 19 Mar 2006 00:45:05 -0800
From: "Ben Blackburn" <2blackburns [at] gmail.com>
Subject: Interesting (dream) Job Posting

http://www.craigslist.org/eby/tfr/142554991.html

Here's a snippet

-----------
We are a small church, so right now, we just offer complete and total
control over the sound system and sound mixing in the church. You will
be in charge. No one will tell you what to do or challenge your ideas.
Instead, you will tell the staff and worship team what they need to
do, where they need to stand, what microphones they will use and more.
A salary will be considered as the church grows and gains the ability
to pay. Salary will be in accordance to skill and performance...

So, if you want to be a huge fish in a small pond, if you want to have
absolute freedom and control, if you want to be the one to tell us
what to do, instead of being told what to do, and if you have the
skills and ability to back all this up, we want you. Come on over and
show us what you can do.

--------------
Wonder how long till that will last!
Thought ya'll might enjoy a laugh.

Later,
Ben Blackburn
KE6GWF
Etc.

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

End of Stagecraft Digest #735
*****************************