Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 7647037; Tue, 07 Dec 2004 18:18:33 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #220 Date: Tue, 07 Dec 2004 18:18:17 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-5.2 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #220 1. Re: Central Clusters by Dorian Kelly 2. Re: Question about plugs and connectors by Mike Brubaker 3. Re: Costa Rica by "Stephen E. Rees" 4. Re: Costa Rica by IAEG [at] aol.com 5. Re: Ideal shop space by "Paul Guncheon" 6. Re: Costa Rica by Herrick Goldman 7. Re: Packaging by "Paul Guncheon" 8. Re: Racism? by Bruce Purdy 9. Re: Vectorworks problem du jour by "Waxler, Steve (waxlers)" 10. Re: Racism? by "Jon Ares" 11. Re: Racism? / East Side - West Side by IAEG [at] aol.com 12. Re: Vectorworks problem du jour by Herrick Goldman 13. Re: Racism? by kim.hartshorn [at] plattsburgh.edu 14. Re: the ethos of sound ( and light ? ) long post by Nathan Kahn/Look Solutions 15. Re: Costa Rica by "RODOK!!!" 16. Re: computer tech support - was: Do I really need a hoisting license? by Nathan Kahn/Look Solutions 17. Re: Costa Rica by IAEG [at] aol.com 18. More WSS Trivia... by Gion DeFrancesco 19. Re: More WSS Trivia... by IAEG [at] aol.com 20. Re: computer tech support - was: Do I really need a hoisting license? by "Jeffrey E. Salzberg" 21. Tech Support by "Jeffrey E. Salzberg" 22. Re: Custom Gobos by nancy moeur 23. Re: Tech Support by Steve Larson 24. Another ObsII question by nancy moeur 25. Re: Racism? by "Michael Denison" 26. Re: Packaging by "Stephen E. Rees" 27. Re: Another ObsII question by Stephen Litterst 28. Re: Racism? (long) by "Storms, Randy" 29. Re: Custom Gobos by "Stephen E. Rees" 30. Re: Ideal shop space by Wood Chip-P26398 31. Re: Custom Gobos by Michael Heinicke 32. Re: Central Clusters by FrankWood95 [at] aol.com 33. Re: Racism? (long) by Wood Chip-P26398 34. Re: the ethos of sound ( and light ? ) long post by FrankWood95 [at] aol.com 35. Re: Racism? (long) by "Storms, Randy" 36. Re: Rigging and Lighting ?? by FrankWood95 [at] aol.com 37. OSB Question by Terry Price 38. Re: OSB Question by "Storms, Randy" 39. Re: Custom Gobos by FrankWood95 [at] aol.com 40. Re: OSB Question by "Paul Schreiner" 41. Re: OSB Question by "Stephen E. Rees" 42. Dude! by CB 43. Re: Dude! by "Jeffrey E. Salzberg" 44. Central Clusters by CB 45. Re: Ideal Shop Space by CB 46. Re: Racism? by "Michael Denison" 47. the ethos of sound ( and light ? ) by CB 48. Re: Central Clusters by "Moore, Martin W." 49. Does anyone have parts for Strand 2230 lekos? by sgraham42 [at] comcast.net 50. Re: Does anyone have parts for Strand 2230 lekos? by "Paul Schreiner" 51. Re: Tech Support by Mike Brubaker 52. Re: Tech Support by Boyd Ostroff 53. Import/Export to/from vectorworks/Rosco LPS by Michael Beyer 54. Re: Does anyone have parts for Strand 2230 lekos? by "Shakespeare & Company Production Department" 55. Re: Import/Export to/from vectorworks/Rosco LPS by "Kevin Linzey" 56. Re: Do I really need a hoisting license? by MPTecDir [at] aol.com 57. Re: Central Clusters by FrankWood95 [at] aol.com 58. Re: Garden Brothers shows by Marty_Petlock [at] sarasotagov.com 59. Re: Central Clusters by FrankWood95 [at] aol.com 60. Re: Garden Brothers shows by Dale Farmer 61. Re: Work Boot Recommendations.... by Paul Puppo 62. Re: Does anyone have parts for Strand 2230 lekos? by sgraham42 [at] comcast.net 63. Re: Import/Export to/from vectorworks/Rosco LPS by Michael Beyer 64. Re: Import/Export to/from vectorworks/Rosco LPS by "Kevin Linzey" 65. Re: Question about plugs and connectors by "Jon Ares" *** 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: In-Reply-To: Date: Tue, 7 Dec 2004 11:47:18 +0000 From: Dorian Kelly Subject: Re: Central Clusters >Doesn't the technology exist to avoid centralized sound images nowadays? > Source oriented reinforcement uses the Haas effect whereby ( and I am sure someone will correct me /expand on my words ) a delayed sound arriving at the ear less than about 35-40 ms after the original sound and up to about 10dB louder, is ignored by the ear but the volume is added to the first sound. The result is that the combined sound appears to come from the source of the original sound but with added volume. Manipulating delays and volumes can be used (with care) to create a psychoacoustical illusion of the source. TiMax can place a sound virtually anywhere within the 3D spaceframe by an enhancement of this method. But youre right, Timax seems to have dropped out recently If the original sound is acoustic and the delayed electronic, it gives a great naturalness to the sound as you tend to only 'hear" the original. I routinely put a delay ( calculated at 1ms per foot plus about 10ms, rule of thumb distance difference from the middle of the audience to the performer and the speaker stack) on the front stacks. It works well. Try this at home. Put a radio in the kichen at reasonable listening level, then go upstairs where you can just about hear the kitchen radio and switch on another radio. Adjust the volume of the second so you can just hear it comfortably. Then get someone to switch off the kitchen radio and be surprised how quiet the second radio seems to be. Dorian ------------------------------ Message-Id: <6.1.2.0.0.20041207081150.10084698 [at] mail.insightbb.com> Date: Tue, 07 Dec 2004 08:13:26 -0500 From: Mike Brubaker Subject: Re: Question about plugs and connectors In-Reply-To: References: Silly question, most likely, but this bit me once: have you turned on the IR sensor in the BIOS settings on your laptop? At 12:00 AM 12/7/2004, Jon Ares wrote: Except I can't get it to hotsync via IR with my HP laptop. ------------------------------ Message-ID: <41B5B18A.6050307 [at] fredonia.edu> Date: Tue, 07 Dec 2004 08:35:06 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Costa Rica References: I am digging out my favorite toe shoes and best frock as we speak! :) Steve Bill Sapsis wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Never been there myself. Heard it's very pretty. > > As Vonnegut once said...."Unexpected invitations to travel are dancing > lessons from heaven." > > Bill S. ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Tue, 7 Dec 2004 08:44:57 EST Subject: Re: Costa Rica In a message dated 12/7/04 8:35:58 AM, Rees [at] fredonia.edu writes: >I am digging out my favorite toe shoes and best frock as we speak! :) >Steve toe shoes and the steeply raked deck at Teatro Nacional will give you hell on your double tour en l'air. very best, Keith Arsenault ------------------------------ Message-ID: <001801c4dc63$af872840$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Ideal shop space Date: Tue, 7 Dec 2004 03:50:16 -1000 A few thoughts... The shop should be laid out following the flow of materials Build a mythical flat in your shop. The lumber comes in the (loading) door and onto the lumber racks (one for plywood and other sheet goods, one for stick lumber of various types). The stick lumber is then cut to length, the skin material is ripped to size. There should be storage for cut offs. There is a layout and framing/skinning space (table or floor) and then. Then a painting area. You may have a set up space. Then out the door to the theatre. Its good to have your materials close to the first tool that will probably be used on them. Other notes and thoughts... The paint area should be as far from the sawdust area as possible. Metal area separate from wood world. Try and have all your tables the same height, usually that of the table saw. A friend is designing his shop with table heights based on that of his heavy duty rolling trash cans. Lockable tool storage. A clean area for small prop making / electronics, etc. Outlets everywhere at 4'... both electrical and air. Cordless phone with loud bell / light. There should be no mirror ball between the wet bar and the pool table. A wood floor is better than concrete for a variety of reasons. It's really nice to have a flat level floor, too. Laters, Paul "I love Velveeta," Tom said craftily. ------------------------------ Date: Tue, 07 Dec 2004 08:54:34 -0500 Subject: Re: Costa Rica From: Herrick Goldman Message-ID: In-Reply-To: If either of you drink too much water or eat too much local fruit, call me I'll come down and bail you out while you're laid up. :) Actually one important tip I discovered. When/if you rent a car(get a truck) get the lowest possible deductible and the most coverage. In Costa Rica you MUST take insurance (it's a national law) so when you break your windshield while driving into a low hanging branch because you were avoiding a pothole that could swallow a goat and you are 8' away from a steep cliff on the other side of a puente angosto! A: your newlywed wife won't be pissed about the $500 deductible and B: you don't waste your time trying to get Amex or you insurance to cover the rest..because they won't..you took the insurance see. Pura Vida, _Herrick On 12/7/04 8:35, "Stephen E. Rees" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am digging out my favorite toe shoes and best frock as we speak! :) > Steve > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <001901c4dc65$37bc6e40$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Packaging Date: Tue, 7 Dec 2004 04:01:14 -1000 <> True. I really dislike blister packs or for that matter any other container that requires a tool to open. Some of the packages are simply dangerous no matter how you open them. I'm thinking mostly of the Costco blister packs which are in the "nuclear blast survivor" strength. Then there's the expand-o-product that comes in a "handy carrying bag". When you take the product out of the bag, it, as if by magic, expands to nearly triple its original packaged size. Unfortunately, it doesn't come with the hydraulic press required to compress the product down to the size that will once again fit in the bag. As long as we're talking about packaging... When a store puts a sticky price tag on a bolt, why do they always stick it on the threaded part? Same thing for pipe. I would guess the odds of getting the correct "screws to hinge" ratio in any hardware product package is somewhere around 4%. I suppose the manufacturer believes that "around six" is an actual number. Does anything from Radio Shack work longer than 3 months? Laters, Paul "I've found the pens used by the leader of the Southern armies to sign the civil war surrender," Tom said pensively. ------------------------------ Date: Tue, 07 Dec 2004 09:28:02 -0500 Subject: Re: Racism? From: Bruce Purdy Message-ID: In-Reply-To: >> I believe *most* audiences would agree. Some "PC" activists will always >> find something to complain about, but you have to cast from within the >> available pool of talent. > > There are a billion shows out there, if you don't have a > great, talented black dude, then choose something other than > 'Big River'. > Agreed! > Or, use the show as a tool to recruit members of minorities > into your group. If your community theatre or university > theatre does not look like your population as a whole, are > you really serving all of them? In community Theatre - at least in small towns anyway - It's hard to get anybody other than the "Regulars" to show up at auditions. Men / boys are especially scarce. There aren't a lot of minority actors or folks with an interest in participating. I agree that "Reaching out" more actively might change that somewhat, but amateur community theatre folks are more interested in "Doing a show" than in social engineering. > > I generally find that roles that are written specifically > for black actors are very powerful and meaty roles, often > commenting on the stuggles that minorities have faced. > Casting somebody else in these roles tends to dilute the > power of the playwright's message. In effect, the use of a > minority character should be treated with the same respect > as the text itself. > > If a role is not specifically written for or referred to as > a particular type, then anybody ought to be considered. But > roles written for a type ought to be given due care in casting. > All valid and excellent points. Of course, there are a lot of grey areas in between. The post that started this thread involved Puerto Ricans in "West Side Story". Casting them as an Irish gang for example might be interesting, (if it was OK with the rights holders), but I'm not sure it would be a great idea. There also aren't a lot of Puerto Rican actors in my area, and even less in other parts of the country. So: "Don't do the show"? Perhaps - I'm not so fond of that show myself - but if that's what the director wants to do, that's what gets done. In the original case study, the issue was darkening or "Browning" the faces with makeup. This might or might not be OK in my opinion, depending on how well it was done, and many other factors. Assuming it was not "Caricature" makeup (Like minstrel show blackface) I don't believe it is automatically racist. More important is whether the actors and director have a clear understanding of who the characters are. The "Back story" of who they are, and what they've been through in their lives. In the Midwest, where the cast might never have met an actual Puerto Rican - much less a Puerto Rican New York Gang member, there in a possibility of the entire rolls being a caricature. This has the potential of being more racist than the makeup itself. The makeup merely makes it more visible. Having recently watched Abbott & Costello in "Africa Screams", I can assure you that even with African American actors portraying "Africans " it was quite racist. Many films of the era were. The point being: Racism can come from the script, the director, or the actor's interpretation. Makeup *can* be a part of the problem, but it is more likely to simply draw attention to a deeper problem. If everything is right, in the right situation, cross-racial casting can work, and sometimes good makeup can add to the illusion. To simply say "Dark makeup on a Caucasian to make him appear to be of a different race is always racist" is far too simplistic and represents a "Black and white" viewpoint. But then again, judging from this past election, maybe that's what America wants! -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0ABE3236 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Vectorworks problem du jour Date: Tue, 7 Dec 2004 09:28:54 -0500 Every one knows that you can't keep using what works!!! We by nature have to keep trying new things until they no longer work and we have to wipe the entire hard drive and start all over from scratch. It is the "I can't leave well enough alone" syndrome. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati Hey Paul, I'm still using VW 9.5.1 on my mac. I just refuse to pay that much money to upgrade when what I have still works fine. Of course I had working light plot software with Minicad 7. (hi Sam) ------------------------------ Message-ID: <001501c4dc6a$4f1f4530$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Racism? Date: Tue, 7 Dec 2004 06:37:42 -0800 > in between. The post that started this thread involved Puerto Ricans in > "West Side Story". Casting them as an Irish gang for example might be > interesting, (if it was OK with the rights holders), but I'm not sure it > would be a great idea. I think it would add an interesting twist to the story -- though I'd be wondering why the Irish gang longs for their blissful days in San Juan.... ;) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ From: IAEG [at] aol.com Message-ID: <1d4.3110860b.2ee71c64 [at] aol.com> Date: Tue, 7 Dec 2004 09:47:00 EST Subject: Re: Racism? / East Side - West Side In a message dated 12/7/04 9:38:21 AM, jonares [at] hevanet.com writes: > > >> in between. The post that started this thread involved Puerto Ricans >in > >> "West Side Story". Casting them as an Irish gang for example might be > >> interesting, (if it was OK with the rights holders), but I'm not sure >it > >> would be a great idea. > > > > > >I think it would add an interesting twist to the story -- though I'd be > > >wondering why the Irish gang longs for their blissful days in San Juan.... > > >;) actually, , for those historians of Broadway shows, , WEST SIDE STORY started off life as EAST SIDE STORY, , and one of the two gangs WAS in fact Irish. Bernstein, Laurents, Robbins and Sondheim worked on it, , couldn't get a producer really interested in the story It sat for a couple of years, , until the Puerto Ricans started immigrating into Manhattan in large numbers , , the hispanic / Caribbean rhythms were being heard all over NYC, , and the idea was hatched to change the ethnicity of the gangs, , infuse the score and those latin sounds and move the locale to the West Side, presto chango, , a hit. very best, Keith Arsenault ------------------------------ Date: Tue, 07 Dec 2004 09:53:11 -0500 Subject: Re: Vectorworks problem du jour From: Herrick Goldman Message-ID: In-Reply-To: Sam just tried the same thing. I even had to check my version of VW he was so amazed it's 9.5.1 You are talking to a guy who had a '76 dodge dart in 1994 and drove it until only 2 of the 6 cylinders were functional! That baby could still do 65 downhill with a tailwind...uphill..not so much. -Herrick Proud owner of an '86 porsche 944 (that still does 100mph uphill) On 12/7/04 9:28, "Waxler, Steve (waxlers)" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Every one knows that you can't keep using what works!!! We by nature have > to keep trying new things until they no longer work and we have to wipe the > entire hard drive and start all over from scratch. It is the "I can't leave > well enough alone" syndrome. -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <1102430201.41b5bff9379bf [at] webmail.plattsburgh.edu> Date: Tue, 7 Dec 2004 09:36:41 -0500 From: kim.hartshorn [at] plattsburgh.edu Subject: Re: Racism? References: In-Reply-To: As an Asian American, one of the shows that I find personally offensive is 'The King and I' and primarily because it is a favorite of amateur groups that think it is great fun to dress up all the local kids in 'asian' costumes and give them slanty eyes and teach them to hold their index fingers up in the air and bow and shuffle...come on gimme a break. This issue of race and theatre is one that requires 1. sensitivity and 2. common sense and does not have any clear cut answers in my opinion. For instance is the issue of 'race' crucial to the play? I objected to the depiction of the 'Chinese monks' in our own production of Anything Goes and was accomodated by the director very easily, my position was that if the characters (very minor characters) were going to be portrayed as written (very stereotyped and caricatured) then i thought it was important that the portrayal be done concentually by asian actors, and if asian actors could not be cast that the caricatures simply be handled as non-descript other. (non-descript other is the way it ended up with no negative impact upon the production) Another similar situation exists in 'You Can't Take it With You' the characters of Rheba and Donald. I have seen this done three ways, the first by completely ignoring any element of race and 'adjusting' the dialogue, the second by retaining the dialouge but changing the characters to hillbillies and the third as written and portrayed by black actors as a 'period' approach. The portrayal by the black actors was by far superior than any other approach. Ultimately theatre depends on stereotypes, stereotypes about how old people behave, stereotypes about hippies and russians and gypsies and business people and art professors. Each individual production creates a new set of circumstances, it is incumbant upon the people involved that at the very least, they understand those circumstances and make informed decisions. Not just apply the slanty eyed makeup because it is 'cute'. Kim Hartshorn ------------------------------ Message-Id: <5.0.0.25.2.20041207095805.0196f750 [at] 212.86.129.164> Date: Tue, 07 Dec 2004 09:59:35 -0500 From: Nathan Kahn/Look Solutions Subject: Re: the ethos of sound ( and light ? ) long post In-Reply-To: References: At 09:32 PM 12/6/2004 -0500, you wrote: >Only slightly off-topic: I just finished a dance show with a young lighting >designer who was so enamoured of his moving lights that he seemed to think >they were the show. Out comes the fog machine. This is becoming an >all-too-familiar experience. Although it was very pretty, I actually wanted >the audience to see the dancers. A strange notion, I know. This is what hazers were invented for. Hopefully the young lighting designer will learn this sooner rather than later. Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ Message-ID: <41B5C68B.8010607 [at] telus.net> Date: Tue, 07 Dec 2004 08:04:43 -0700 From: "RODOK!!!" Subject: Re: Costa Rica References: In-Reply-To: Bill Sapsis wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >on 12/6/04 9:19 AM, Stephen E. Rees at Rees [at] fredonia.edu wrote: > > > >>For info, archives & UNSUBSCRIBE, see >>--------------------------------------------------- >> >>Hi, >>Has anyone on this list had any experience with the Compania Lirica >>Nacional (National Opera Co. of Costa Rica) in San Jose, Costa Rica? A >>colleague and I have been offered a scene design, set construction and >>lighting design for Madama Butterfly in July. I know nothing of the >>facility, the city, the country, etc. Before I respond, I'd like a bit >>of clue of any pitfalls. Any help on any topic would be very much >>appreciated. >>TIA and Regards, >>Steve Rees, TD >>SUNY-Fredonia >> >> >> > >Never been there myself. Heard it's very pretty. > >As Vonnegut once said...."Unexpected invitations to travel are dancing >lessons from heaven." > >Bill S. > >www.sapsis-rigging.com >800.727.7471 >800.292.3851 fax >267.278.4561 mobile > >We stand behind, and under, our work. > > > > I toured that theatre with a production group about five years ago. One of the cool features was that the entire house floor could be raised and lowered. Stay up on the mountain in San Jose, above the noise of the city. The main drag there is likely the loudest and smelliest place on earth. No rules regarding exhaust systems or types of gas burned. But once out of the highly populated central valley, I found nothing but spectacular scenery and friendly people everywhere. Manual Antonio park is a great place to surf with tree sloths and iguanas, and the volcanoes to the north of San Jose are most impressive. Maybe adjust your diet to rice and beans in preparation for your visit if you have any digestive challenges. Rod Osiowy Cranbrook, BC "Wild" Theatre ------------------------------ Message-Id: <5.0.0.25.2.20041207100141.023d3c98 [at] 212.86.129.164> Date: Tue, 07 Dec 2004 10:05:16 -0500 From: Nathan Kahn/Look Solutions Subject: Re: computer tech support - was: Do I really need a hoisting license? In-Reply-To: References: At 10:30 PM 12/6/2004 -0500, you wrote: >if only they really talked to Macintoshes, I'd agree wholeheartedly! >Linksys does well, and gives good support. They just don't speak Macintosh... I didn't know that, that's a shame. Weird that they would ignore such a substantial potential market. Just because it's small relative to Windows doesn't mean it's small actually. Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ From: IAEG [at] aol.com Message-ID: <1e1.30cf1b31.2ee7216c [at] aol.com> Date: Tue, 7 Dec 2004 10:08:28 EST Subject: Re: Costa Rica In a message dated 12/7/04 10:05:33 AM, rodok [at] telus.net writes: >Maybe adjust your diet to rice > >and beans in preparation for your visit if you have any digestive > >challenges. Before heading off to third world countries, , i usually load up on active culture yogurt for a couple of weeks before heading off. It seems to make the stomach less likely to suffer the effects of the various micro orgs that one might ingest in the local cuisine. It seems to have worked for me. very best, Keith Arsenault ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 7 Dec 2004 10:09:28 -0500 From: Gion DeFrancesco Subject: More WSS Trivia... > >actually, , for those historians of Broadway shows, , > >WEST SIDE STORY started off life as EAST SIDE STORY, , and one of the two >gangs WAS in fact Irish. Bernstein, Laurents, Robbins and Sondheim worked on >it, , couldn't get a producer really interested in the story And before "East Side Story" its working title was (briefly) GANGWAY. The original "gangs" were indeed Jewish and Catholic. Oddly, some recent research I've done has suggested that Laurents and Bernstein, sitting by the pool in Los Angeles, were reading about Latino gangs in LA (not NYC) when the new direction for WSS hit them. This created tension when Robbins requested (and got) boxed credit for "conceiving" West Side Story. > >It sat for a couple of years, , until the Puerto Ricans started immigrating >into Manhattan in large numbers , , the hispanic / Caribbean rhythms were >being heard all over NYC, , and the idea was hatched to change the >ethnicity of >the gangs, , infuse the score and those latin sounds and move the >locale to the >West Side, presto chango, , a hit. > -- +++++++++++++++++++++++++++++++++++++++ Gion DeFrancesco Assistant Professor of Theatre/Scene Designer MUT Production Manager Miami University 131 Center for Performing Arts Oxford, OH 45056 513.529.8318 On the web at http://arts.muohio.edu/defranga ++++++++++++++++++++++++++++++++++++++ "There are no hopeless situations; there are only men who have grown hopeless about them." Clare Boothe Luce ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Tue, 7 Dec 2004 10:11:39 EST Subject: Re: More WSS Trivia... In a message dated 12/7/04 10:10:16 AM, defranga [at] po.muohio.edu writes: >This created tension when Robbins requested (and got) boxed credit >for "conceiving" West Side Story. Jerry always got what Jerry wanted, , , , , amazing how that worked, , very best, Keith Arsenault ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: computer tech support - was: Do I really need a hoisting license? Date: Tue, 7 Dec 2004 10:12:23 -0500 Message-ID: <000501c4dc6f$3019bc10$6501a8c0 [at] Dell> In-Reply-To: > At 10:30 PM 12/6/2004 -0500, you wrote: > >if only they really talked to Macintoshes, I'd agree wholeheartedly! > >Linksys does well, and gives good support. They just don't > speak Macintosh... I'm running a Mac (with 3 PCs) on a Lynksys router with no trouble...or am I misunderstanding the issue? ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: Tech Support Date: Tue, 7 Dec 2004 10:22:39 -0500 Message-ID: <000601c4dc70$a12ee730$6501a8c0 [at] Dell> In-Reply-To: > -----Original Message----- > From: IAEG [at] aol.com [mailto:IAEG [at] aol.com] > Sent: Monday, December 06, 2004 12:26 PM > To: stagecraft [at] jeffsalzberg.com > Subject: Re: Jeff, , , whooops > > Transportation Sercurity Agency ripped > off my digital > still AND digital video cam from luggage back in June, I am > still going through > hoops with Airtran and the Feds on it I understand your frustration, although systematic apathy and incompetence annoys me as much as individual cases of dishonesty (of course, in this case, it's not my ox that's being gored, either). Case in point: A couple of months ago, I was flying from Newark to Shreveport on Northwest Airlines. The 7:00AM flight sat on the tarmac for 50 minutes due to air traffic control -- not Northwest Airlines' fault, of course. But we only had a 45-minute layover in Memphis, and when we talked to the Northwest Airlines flight attendant twice about this, we were brusquely told, "You'll need to talk to the gate agent," much like a waiter saying, "That's not my table," or Freddie Prinze in Chico and the Man saying, "It's not my job, man." (In similar previous situations, Delta and Continental have radioed ahead to alert the ground staff, and there have been carts waiting to rush me to my next flight.) We landed in Memphis at 10:25AM -- 5 minutes before our connecting flight was due to take off from a gate in another concourse. Northwest Airlines had no carts there, and the Northwest Airlines gate attendants wouldn't even call ahead to tell the other gate we were coming. When we got to the gate, the plane was still there, but the doors were closed, and Northwest Airlines wouldn't let us on, and the gate agents gave us nothing but rudeness and attitude. They wouldn't even call a supervisor; we had to go through security to the Northwest Airlines ticket counter, where the supervisor, only marginally less rude that the Northwest Airlines gate agents, booked us on the next flight -- scheduled for 2:20 (in other words, a 4-hour wait) -- and gave us meal vouchers. Whoopie. He was also kind enough to flag me for an extra security search. He also gave us the phone number for the Northwest Airlines customer relations office in Minnesota. After calling it for several hours and getting nothing but "Due to high call volume...please call later...." I concluded that Northwest Airlines does not actually staff that phone number. Due to maintenance issues, the 2:20 flight did not board until 5:40. The Northwest Airlines gate agents, with the brusqueness that seems to pervade that company, were extremely uncommunicative. When we were finally on the plane, the captain came on the intercom and said, "Well, now we've got TWO planes, and they want us to get off this one and get on the other one. There were, of course, various cries of outrage and despair, and I told the flight attendant, "You'd better have some people who are strong enough to carry me off this plane, because that's the only way I'm getting off before it gets to Shreveport." The guy in the window seat looked at her with wide-eyed innocence and said, "Well, gee, if he doesn't get up, I can't get off." They finally decided to let us stay. At 5:30PM Central time, 11-1/2 hours after the ordeal began, the Northwest Airlines captain came on the intercom and apologized for the inconvenience. This was the only apology we received all day -- and it came from someone who was not in any way at fault. We landed at Shreveport at 6:00PM (12 hours after the first flight had been scheduled to take off and 6-1/2 hours after I was originally supposed to land) and found that my baggage had been on the earlier plane and therefore had been taken off the carousel and locked up behind the Northwest Airlines ticket counter...and there were, of course, no Northwest Airlines personnel to get it for me. Finally, 45 minutes later, I got my bags. Of course, by then, I'd missed that day's entire rehearsal (there -- now this is stagecraft-related). Here's the kicker...if, at any time during that day, a Northwest Airlines employee had just looked me in the eye and said, "Y'know, we really screwed up. I'm sorry," I'd've felt completely different about the situation. These are tough times for the airline industry. If Northwest Airlines goes out of business -- as they deserve to do -- you'll see network pundits and analysts talking about the economy and the price of fuel...and not one of them will mention bad service. I just realized that I've used the phrase "Northwest Airlines" repeatedly in this message. You don't suppose that will cause it to show up on search engines, do you? Heavens to Betsy, I feel *terrible* about that. ------------------------------ Date: Tue, 07 Dec 2004 10:58:18 -0500 From: nancy moeur Subject: Re: Custom Gobos In-reply-to: Cc: jason [at] tollefsondesigns.com Message-id: <1102435098.41b5d31a523cc [at] webmail.williams.edu> References: Jason asked: Does anyone have instructions for making your own custom gobos? The production I'm currently involved in doesn't have the budget to purchase so I want to explore other options. I used to have instructions for acid etching custom patterns but now can't find it. Thanks, Jason Tollefson www.tollefsondesigns.com I reply: I don't know that I have official instructions, but here's what I've done: OBLIGATORY WARNING: This process involves using chemicals which are undoubtedly harmful to you and the world around you. Use protective equipment, work in a well-ventilated space, and dispose of wastes properly. Read the warnings on the bottles. There, I've said it. You will need: Printer's tin or other thin metal (see note) Muriatic acid (see note) Spray paint Lacquer Lacquer thinner The template image already cut out of cardstock at the right size An Xacto knife or two A glass or porcelain vessel with a flat bottom Water Pliers or something to pull the templates out of the acid. Notes: Printer's tin. I know this stuff is getting harder to find, and I'm lucky because one of the design professors here has a whole pile of it hidden away. I bet a pie plate would work, but I haven't done it. Muriatic acid. The bottle I have says it's 28% Hydrochloric Acid. AKA, they dissolve HCl to a 28% concentration. In some states, you can't buy "Muriatic Acid"--just some "replacement." I don't know what the "replacement" is, but I bet it doesn't etch templates very well. If you have a chemist friend, they should be able to make some muriatic acid easily. What to do: Print/draw your image at the right size on cardstock and cut it out with something sharp. Using this stencil, spraypaint the image onto the printer's tin. Do it neatly, but you're really only using the paint as a guide--it isn't the resist for the acid. After the spraypaint is dry, coat both sides of the tin thoroughly in lacquer. I like the spray-on kind. The lacquer is the resist. After the lacquer is dry, cut through the lacquer, into the metal a bit, along the lines of your stencil. Be neat about this. Make sure your lines meet at the corners, etc.... Dilute the muriatic acid to about 50% with water in the non-metal bowl. (I've done it on a plate, too. You really only need enough to get both sides of the template covered. No sense wasting any more than that.) Set the template in the acid. Soon (2-5 minutes, I'd guess) you'll start to see larger and larger bubbles form along the lines you've cut. If you're impatient, add more acid if the bubbles don't come soon enough. The bubbling will get more and more vigorous. Pull the template up by a corner and try to poke out some of the holes with the knife. If they don't come out, put it back in the acid. You don't want to leave it in _too_ long, because the acid will start to eat through the now-raw edges. But leave it in long enough to loosen the parts you're cutting away. When you take it out, wash it thoroughly in clean water. Poke out the loose pieces of metal. Clean off the remaining lacquer and spraypaint with the thinner. Repeat with more templates. Actually, if I have to do multiples, I tend to dip them all at once. Just get a container large enough that they don't sit on each other. I've had better luck with simple things (windows, large breakups) than with delicate things (feathers, etc...). I've managed to make templates both in B-size and also for our moving lights (Studio Spots). For the smaller ones especially, it helps if you not only etch the image, but the circumference of the finished template. Let the acid just cut out the circle for you, rather than bending the metal by cutting it with scissors or snips. whew! hope that helps....now we'll see how many others beat me to it by tomorrow (I get the digest). -nancy ---- Nancy Moeur AME, Syracuse Stage & Syracuse University Drama nmoeur [at] wso.williams.edu ---- ------------------------------ Date: Tue, 07 Dec 2004 11:01:11 -0500 Subject: Re: Tech Support From: Steve Larson Message-ID: In-Reply-To: Right! Steve on 12/7/04 10:22 AM, Jeffrey E. Salzberg at stagecraft [at] jeffsalzberg.com wrote: Heavens to Betsy, I feel *terrible* > about that. > > > ------------------------------ Date: Tue, 07 Dec 2004 11:04:17 -0500 From: nancy moeur Subject: Another ObsII question Message-id: <1102435457.41b5d481e1472 [at] webmail.williams.edu> Many thanks to those who answered Dave Bowman's question last week about copying levels from one cue to another on the ObsessionII (& presetting moving lights)! It made a long tech & preview week that much shorter... While programming that same show, I wanted to set a channel at a DMX level (not a percentage) and couldn't figure out how--anyone who can clue me in? I managed to work around it in that particular instance--but I bet I'll want to do it again, and I couldn't find it in the manual. Oh, it's so nice to get new equipment--now I just need to find time to learn all the ins & outs! thanks, -nancy ---- Nancy Moeur AME, Syracuse Stage & Syracuse University Drama nmoeur [at] wso.williams.edu ---- ------------------------------ Message-ID: <41B580A8.24070.12FB7C32 [at] localhost> From: "Michael Denison" Date: Tue, 7 Dec 2004 10:06:32 -0600 Subject: Re: Racism? Reply-To: In-Reply-To: References: I spent almost 20 years teaching theatre in Thailand. It will not surprise you to learn that The King and I was for many years, and probably still is, officially banned in Thailand for lese majeste. The king depicted in the play, King Mongkut, had been the abbot of a monastery for 29 years before becoming king and he spoke four languages, sent his kids to school in Europe, opened up Thailland (then Siam) to the West and Anna Leonowens was just one of many teachers he imported. > As an Asian American, one of the shows that I find personally offensive is 'The > King and I' and primarily because it is a favorite of amateur groups that think > it is great fun to dress up all the local kids in 'asian' costumes and give > them slanty eyes and teach them to hold their index fingers up in the air and > bow and shuffle...come on gimme a break. Michael A. Denison Technical Director Cottey College 1000 West Austin Nevada, MO 64772 (417) 667-8181 x 2265 FAX: (417) 667-8103 mdenison [at] cottey.edu www.cottey.edu ------------------------------ Message-ID: <41B5DC6D.5090004 [at] fredonia.edu> Date: Tue, 07 Dec 2004 11:38:05 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Packaging References: Paul, Cheaper than Loctite, I suppose. ;) Steve Paul Guncheon wrote: > > When a store puts a sticky price tag on a bolt, why do they always stick it > on the threaded part? > > Same thing for pipe. > ------------------------------ Date: Tue, 07 Dec 2004 11:42:27 -0500 From: Stephen Litterst Subject: Re: Another ObsII question Message-id: <41B5DD73.B78A4F66 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: nancy moeur wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Many thanks to those who answered Dave Bowman's question last week about copying > levels from one cue to another on the ObsessionII (& presetting moving lights)! > It made a long tech & preview week that much shorter... > > While programming that same show, I wanted to set a channel at a DMX level (not > a percentage) and couldn't figure out how--anyone who can clue me in? I > managed to work around it in that particular instance--but I bet I'll want to > do it again, and I couldn't find it in the manual. > > Oh, it's so nice to get new equipment--now I just need to find time to learn all > the ins & outs! Unfortunately, the Obsession doesn't have the "At DMX" softkey that you remember from the Strand. After reviewing the manual, I don't believe you can set an intensity channel at a DMX level. However, I believe you can work around this on the ML wing by setting the encoders to display DMX rather than Percent. Having said that, I can't find in the manual how to change that parameter. I'll try to find some time today to play on our Obsession and get back to you. Are you on v5.1? Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: Racism? (long) Date: Tue, 7 Dec 2004 08:56:37 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239B3 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" >I spent almost 20 years teaching theatre in Thailand. It will not=20 >surprise you to learn that The King and I was for many years, and=20 >probably still is, officially banned in Thailand for lese majeste. The=20 >king depicted in the play, King Mongkut, My parents just returned last week after spending a month in Thailand. = One thing they mentioned was that their local tour guides, when speaking = about King Mongkut, would refer to him as "Anna King"; as in: "Anna King = built this palace", or "This is the monastery where Anna King lived". I would suppose that the guides know that tourists in general and = Americans in particular are familiar with King Mongkut only by way of = TK&I, and have learned to adapt their narrative to suit their audience. = Another possibility is that Anna (Leonowens, is it?) is a popular = historical figure to the Thais as well, and they refer to King Mongkut = in this colloquial way even among themselves. Having spent 20 years there, Michael undoubtedly knows which. =20 > As an Asian American, one of the shows that I find personally = offensive is 'The=20 > King and I' and primarily because it is a favorite of amateur groups = that think=20 > it is great fun to dress up all the local kids in 'asian' costumes and = give=20 > them slanty eyes and teach them to hold their index fingers up in the = air and=20 > bow and shuffle...come on gimme a break. =20 Obviously we've made great strides in the last few decades. When the = musical was first produced, I doubt the issue of cultural sensitivity = even occurred to the producers. Now, pretty much everyone realizes that = it's unacceptable to degrade other cultures, and the challenge is = working around the fact that no matter what you do, *someone* will be = offended. As an example, we are now ramping up for "Anything Goes", a much = celebrated and often performed musical. The script calls for two = Chinese characters, "Ching" and "Ling", former "heathens" recently = converted to Christianity. They speak in pidgin English and are in = general horrifyingly offensive to modern sensibilities. =20 We chose to avoid that issue by making those characters nuns instead, = and now we have a problem with a parent who feels we are making fun of = Catholics... Here's hoping the pendulum swings to a happy medium, and we all learn to = laugh at ourselves again. Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Message-ID: <41B5E6EB.8050108 [at] fredonia.edu> Date: Tue, 07 Dec 2004 12:22:51 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Custom Gobos References: Jason, You'll probably get several versions of this process. The one I use was originally published in Theatre Crafts magazine in 1978. I actually have the article laying around here someplace but can't look for it now. Anyway, I use aluminum roll flashing that I cut to appropriate size for the finished template. You can do this by hand but if you have a sheet metal shear/brake, that will work real well. Steel wool lightly and degrease if necessary. Next step is to lightly trace the outline of the luminaires (!) gate on the blank with a metal scribe. This defines the location of the eventual design. Use a template holder to trace this accurately. Next, coat both sides of the blank with at least two coats of spray LACQUER which will act as a resist to the acid. When dry, you can now draw your design on the blank cutting through to the metal with your Xacto knife, scribe, sharpened nail, serpent's tooth, or whatever. The point is to expose the metal to the acid. You don't have to carve too deeply into the aluminum. The etching bath uses dilute muriatic acid usually found in the plumbing section of the hardware store. You can experiment with the dilution proportion. The stronger the acid, the faster and less controllable the etch. To start, try 3 parts water and 1 part acid. Mix well in a glass baking dish like 9 x 13 or so. I also have used a French White pyrex baking dish as well. No metal allowed!! Immerse the blank in the acid bath face up and keep it from floating to the surface. I have some photo developing tongs for this purpose. You can do multiple blanks at the same time but it sort of is like herding cats after awhile. MOST IMPORTANT! The fumes produced by the etching process are really toxic! In my shop, I have an exhaust duct at counter height in the paint area next to the sink that eventually leads to the outside and runs continuously. This is ideal. you can see the fumes being sucked into the duct. Proper PPDs are absolutely required. After a while, you will start to see gaps opening up and the design being revealed. Kind of cool to watch. At some point, you'll decide that the etching can stop and you do this by removing the bland and rinsing with clear water. There will now, in most cases, be a thin layer of lacquer holding the little scraps of aluminum in the template. Poke these out with a nail or whatever and you are ready to strip the lacquer off the finished gobo. DO NOT just stick the gobo in the luminaire w/o removing the lacquer. It is pretty ugly and smelly. Lacquer thinner works well for stripping. Rinse well and dry you are ready to go. I was once in the same position you are needing about 45 or so templates in a variety of breakup patterns. This process took about 3 days to do with a couple of students doing most of the heavy lifting. The finished templates cost less than $25.00. Even if I had the $$$, the templates would have taken days to arrive from the vendor. If you use this process, please be cautious. HTH, Steve Rees, TD SUNY-Fredonia Jason Tollefson wrote: > Does anyone have instructions for making your own custom gobos? [snip] ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Ideal shop space Date: Tue, 7 Dec 2004 10:40:40 -0700 Oh, crap, that's exactly where I put mine. Feng Shui said to put it there. Now I am going to have to change it. Chip Wood -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Paul Guncheon There should be no mirror ball between the wet bar and the pool table. ------------------------------ Message-ID: <20041207174405.74639.qmail [at] web81704.mail.yahoo.com> Date: Tue, 7 Dec 2004 09:44:05 -0800 (PST) From: Michael Heinicke Subject: Re: Custom Gobos In-Reply-To: --- nancy moeur wrote: > In some > states, you can't buy "Muriatic > Acid"--just some "replacement." I don't know what > the "replacement" is, but I > bet it doesn't etch templates very well. If this is the case, try Radio Shack or equivelent. They used to (and I assume still do) have the materials to etch circuit boards. I haven't tried it, but I've seen several different sets of instructions for making gobos using this etching acid instead of muriatic acid. Mike H ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 7 Dec 2004 12:49:32 EST Subject: Re: Central Clusters In a message dated 06/12/04 23:33:42 GMT Standard Time, doomster [at] worldnet.att.net writes: > I am that old that all of the productions I directed, I never allowed a > microphone for any performer. The very old school called projection of > the voice, and it always, and I mean always worked. Doomster I agree that they are rarely needed. As a rule, if you mike up a performer who can't sing, all you get is a performer who can't sing VERY LOUD! However, I lit a childrens group doing "Wizard of Oz" a few years ago, and they did need a bit of help. Frank Wood ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Racism? (long) Date: Tue, 7 Dec 2004 11:02:59 -0700 That is a curious thing to say about a show that has " The Cabin of Uncle Thomas" as a center piece. Chip Wood -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Storms, Randy When the musical was first produced, I doubt the issue of cultural sensitivity even occurred to the producers. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 7 Dec 2004 13:18:22 EST Subject: Re: the ethos of sound ( and light ? ) long post In a message dated 07/12/04 00:26:25 GMT Standard Time, IAEG [at] aol.com writes: > I think that it is safe to say, , No, it's not. You knew you would get me at you. > > at some point in time about 30 years ago we switched our efforts from > working to make recordings sound as good as a live performance > to > working to make live performances sound as good as a recording. > with the advent of multi track / synced recording, the ability to have the > timbre of certain things that we associate with LOUDNESS , , the sharp > crack > of a snare drum, , the distortion of a lead guitar, , to be mixed UNDER > acoustic timbre's such as string sections, or vocal techniques that pre > cluded > "projection" > The ability to create a mix that would be impossible to duplicate in an > "acoustic" environment is what we are talking about. But, why did we start to want to do this? Understand that I am talking only about classical music, or jazz. Pop 'music' and the activities of its practitioners are of no interest to me. > I remember reading an article in either Musical America or Opera News (help > me out Boyd) about 10 years ago, , comparing pop / rock singers with their > microphone technique to bell canto singers of previous centuries. The point > being that the large opera houses, large pit orchestras and the advent of > the full > voice high C in tenor particularly made historically accurate, but "small" > voices impossible in today's opera houses. The full voice high C's that we > think of in Pavarotti's early career, , in Donezetti and other composers of > that > period, , would have been un heard of, , and considered un musical and > vulgar. In the days of the great singers, these were often inserted into otherwise quite singable roles by the singers themselves, just to show that they could do them. > > it's a change that's happened in lighting as well,, but not as obvious > perhaps, , > > I remember hearing that the lumen reading on stage for the final curtain > (probably the brightest moment of most shows ?) of a 50's Broadway show, , > let's > say WEST SIDE STORY would not be considered a suitable lumen level in a > contemporary Broadway musical for a dark night time scene today. , most > HS > productions today probably have more "lumens" at their disposal! > > Why? I wish I knew. The capabilities of the equipment change, fashions change, the expectations of directors change. I now us 1KW luminaires where I would have used 500W ones 30 years ago, and they are also more efficient. > > Television, , close ups, , , , etc, , , plus the brighter the base light I think that you are wrong about TV. This is still limited by the properties of the display tube. a contrast ratio of about 30:1 is all that it can handle. > > would have been like with say 800 1 k instruments, , and GIANT DC Piano > boards > to run it all ! Yikes ! the operators ( 10 or 12 ? ? ) would glow in the > dark, , , it wouldn't have been practical, , in those cramped quarters ? ? ? Don't forget that the piano boards were often distributed round the house. > so these are my ramblings on the subject , , take them for what they are > worth, Interesting thoughts. > > I could be completely wrong, , , And so could I. Frank Wood ------------------------------ Subject: RE: Racism? (long) Date: Tue, 7 Dec 2004 10:26:59 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239B4 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I confess I had forgotten that bit. I last saw the show when the = national tour came through circa 1984. I would have been more accurate = in saying: "In 1951, when The King and I made it's original Broadway = debut, I don't believe cultural sensitivity had yet broken the top-10 = list of things with which most producers were concerned." I think the recent(non-musical)film "Anna and the King" with Jodie = Foster and Chow Yun-Fat also mentions Uncle Tom's Cabin, but it doesn't = absorb nearly as much screen time. Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu --------------------------------------------------- >That is a curious thing to say about a show that has " The Cabin of = Uncle Thomas" as a center >piece. >>When the musical was first produced, I doubt the issue of cultural = sensitivity even occurred to >>the producers. =20 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <68.4a699cc3.2ee75013 [at] aol.com> Date: Tue, 7 Dec 2004 13:27:31 EST Subject: Re: Rigging and Lighting ?? In a message dated 04/12/04 16:09:57 GMT Standard Time, wirtzj [at] stillwater.k12.mn.us writes: > All the Roscolux gels at this theater have been labeled with an "R" > prefix, as in R55. I was taught that the prefix "R" referred to the > original Rosco gels (the ones made from gelatin) and that the prefix "X" > should be used for Roscolux. Which is the current standard for labeling > Rosco's gels? Why does it matter? You use a gel which is the right colour, whether it's Lee, Rosco, or Strand, and can stand the high temperatures you may need. There are tables of equivalence, but they are seldom precise enough to match up a cyc set, and that's the only place where it's really important. Frank Wood ------------------------------ Date: Tue, 07 Dec 2004 12:37:18 -0600 Subject: OSB Question From: Terry Price Message-ID: Has anyone used/considered using OSB for stress skin platform skins? If so, what are your observations; if not, what are your reservations? Thanks for all comments wise and other/wise. -- Terry Price, Assistant Professor Department of Dramatic Media Texas Lutheran University This message was content scanned by the TLU McAfee Webshield. ------------------------------ Subject: RE: OSB Question Date: Tue, 7 Dec 2004 10:41:05 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239B5 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I did this last year; the platform was used in a fairly demanding = situation and I had no problems whatsoever. Of course, as I am not a = structural engineer I can't say if it was a good idea or not... -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Terry Price Sent: Tuesday, December 07, 2004 10:37 AM To: Stagecraft Subject: OSB Question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Has anyone used/considered using OSB for stress skin platform skins? If = so, what are your observations; if not, what are your reservations? Thanks for all comments wise and other/wise. --=20 Terry Price, Assistant Professor Department of Dramatic Media Texas Lutheran University This message was content scanned by the TLU McAfee Webshield. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d8.320005b9.2ee75558 [at] aol.com> Date: Tue, 7 Dec 2004 13:50:00 EST Subject: Re: Custom Gobos In a message dated 07/12/04 17:45:00 GMT Standard Time, mheinicke [at] sbcglobal.net writes: > If this is the case, try Radio Shack or equivelent. > They used to (and I assume still do) have the > materials to etch circuit boards. I haven't tried it, > but I've seen several different sets of instructions > for making gobos using this etching acid instead of > muriatic acid. This all depends on what you are trying to etch. Specific substances, specific solvents. PCBs are etched with ferric chloride. It works on aluminium, but is rather violent. Muriatic (hydrochloric) acid may work on aluminium; I haven't tried it. Frank Wood ------------------------------ Subject: RE: OSB Question Date: Tue, 7 Dec 2004 13:52:39 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74ADC0 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Has anyone used/considered using OSB for stress skin platform=20 > skins? If so, what are your observations; if not, what are=20 > your reservations? I've used OSB in a number of configurations, including stress-skins. Nothing major to note, in my experience, except for what you would expect w/r/t trying to hide the texture when finishing it. And the slightly higher weight, of course. ------------------------------ Message-ID: <41B5FD6D.2090404 [at] fredonia.edu> Date: Tue, 07 Dec 2004 13:58:53 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: OSB Question References: I tried this once as a cost saving measure and was not pleased with the results. Although there was some resistance to deflection, it was not nearly as stiff as it would have been had I used plywood of a corresponding thickness. Also, the surface was rougher than I wanted and required an additional layer of lauan to provide a good paint/walking surface. On the other hand, if the unit was going to be well supported, not have casters in contact with it like in a revolve, and was out of sightlines, I'd probably do it again. I just didn't like the use of OSB in that specific application. HTH, Steve Rees, TD SUNY-Fredonia Terry Price wrote: > Has anyone used/considered using OSB[snip] ------------------------------ Message-Id: <3.0.6.32.20041207122429.0208ed30 [at] pop.west.cox.net> Date: Tue, 07 Dec 2004 12:24:29 From: CB Subject: Dude! >> My customer number is 474XX327. Great. Now I can get tech suport for that laptop I found! "I thought you said, 'Dude, you're going to hell!'" "I sorta did." Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Dude! Date: Tue, 7 Dec 2004 14:31:40 -0500 Message-ID: <000201c4dc93$69321690$6501a8c0 [at] Dell> In-Reply-To: > >> My customer number is 474XX327. Don't kid yourself; you also need the Service Tag number. It's more making it easier for Dell than about solving the customers' problems. ------------------------------ Message-Id: <3.0.6.32.20041207124613.0208ed30 [at] pop.west.cox.net> Date: Tue, 07 Dec 2004 12:46:13 From: CB Subject: Central Clusters >Am I just being old and cantankerous that I found it disconcerting that >Dame Edna's sound image in the mezzanine at the Music Box was central >and overhead regardless of where Dame Edna was on stage. What did it sound like from the Orch seats? Follow the money. Most sound systems are set up to reach each and every seat with the best possible sound, but money will find its way to the equation. With sound budgets being cut to the bone, sometimes the gear just isn't there to get everyone what they deserve, and those that think they deserve more will pay for it, and the rest may well suffer for it. Some designers will opt to give everyone an acceptable sound, some will opt to give the best to those that paid for it, sometimes the good sound people are too expensive and you get an amateur stealing from everyone. Check out for a brief, sorta-technical explanation of what will soon replace your cluster. Til then, a cluster with a bit of help from the crotch fills and some push from the sides can image centrally very well. Again, using these methods to image correctly for the orchestra seating might not be the best for the mezz. Were there under balcony speakers above you? Having the delay on those set wrong could give the impression that the source was above, and hearing that first, your brain would always assume that that was the original source. A ten millisecond lead, while imperceptable to the forebrain, tells the rat brain that this is the original, not a reflection, and therefore the origin. 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: <3.0.6.32.20041207125058.0208ed30 [at] pop.west.cox.net> Date: Tue, 07 Dec 2004 12:50:58 From: CB Subject: RE: Ideal Shop Space > The 8 x 8 rooms. It would be nice if they all had 4' wide >doors. =09 > I love mine. And maybe a door between two rooms. One with a big > > window for an office or shop foreman Unless it is higher than the second floor. 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: <41B5B627.14762.13CC74C7 [at] localhost> From: "Michael Denison" Date: Tue, 7 Dec 2004 13:54:47 -0600 Subject: Re: Racism? Reply-To: In-Reply-To: All of the kings of Thailand are highly respected and the terms you mentioned are certainly only a special consideration for the tourists. Anna is primarily recognized, I think, for the publicity she brought to Thailand. The company founded by one of her sons still exists. SNIP tourists in general and Americans in particular are familiar with King Mongkut only by way of TK&I, and have learned to adapt their narrative to suit their audience. Another possibility is that Anna (Leonowens, is it?) is a popular historical figure to the Thais as well, and they refer to King Mongkut in this colloquial way even among themselves. Michael A. Denison Technical Director Cottey College 1000 West Austin Nevada, MO 64772 (417) 667-8181 x 2265 FAX: (417) 667-8103 mdenison [at] cottey.edu www.cottey.edu ------------------------------ Message-Id: <3.0.6.32.20041207125836.0208ed30 [at] pop.west.cox.net> Date: Tue, 07 Dec 2004 12:58:36 From: CB Subject: the ethos of sound ( and light ? ) >"I am that old that all of the productions I directed, I never allowed >a >microphone for any performer. The very old school called projection of >the voice, and it always, and I mean always worked. And screw this internet thing. Why, in my day, we sent messages by horse, riden by real men. Those were the days. Yeah, I hate a singer that can't as much as the next guy, and signal to noise ratio is better louder. With today's theatre, if you don't use the mics you'd better not invite more than twenty or thirty people. 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... ------------------------------ Subject: RE: Central Clusters Date: Tue, 7 Dec 2004 14:58:20 -0500 Message-ID: From: "Moore, Martin W." CB wrote re Edna: "Were there under balcony speakers above you? Having the delay on those set wrong could give the impression that the source was above, and hearing that first, your brain would always assume that that was the original source. A ten millisecond lead, while imperceptible to the forebrain, tells the rat brain that this is the original, not a reflection, and therefore the origin." There's no balcony over the mezzanine so there's only the single central loudspeaker cabinet and small side fills at the proscenium Martin -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of CB Sent: Tuesday, December 07, 2004 7:46 AM To: Stagecraft Subject: Central Clusters For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >Am I just being old and cantankerous that I found it disconcerting that >Dame Edna's sound image in the mezzanine at the Music Box was central=20 >and overhead regardless of where Dame Edna was on stage. What did it sound like from the Orch seats? Follow the money. Most sound systems are set up to reach each and every seat with the best possible sound, but money will find its way to the equation. With sound budgets being cut to the bone, sometimes the gear just isn't there to get everyone what they deserve, and those that think they deserve more will pay for it, and the rest may well suffer for it. Some designers will opt to give everyone an acceptable sound, some will opt to give the best to those that paid for it, sometimes the good sound people are too expensive and you get an amateur stealing from everyone. Check out for a brief, sorta-technical explanation of what will soon replace your cluster. Til then, a cluster with a bit of help from the crotch fills and some push from the sides can image centrally very well. Again, using these methods to image correctly for the orchestra seating might not be the best for the mezz.=20 Were there under balcony speakers above you? Having the delay on those set wrong could give the impression that the source was above, and hearing that first, your brain would always assume that that was the original source. A ten millisecond lead, while imperceptable to the forebrain, tells the rat brain that this is the original, not a reflection, and therefore the origin. 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... ------------------------------ From: sgraham42 [at] comcast.net Subject: Does anyone have parts for Strand 2230 lekos? Date: Tue, 07 Dec 2004 20:16:06 +0000 Message-Id: <120720042016.13141.41B60F860007C4CB000033552200734840CDCB030E080E9D099C [at] comcast.net> Hi everyone, returning to the list after a long hiatus (tour). The theatre at which I am now working owns a number of Strand 2200 series lekos. I have a bunch that are missing a rather integral part, the "Batten Clip," and the lights are pretty much useless without it. So what is this thing? A Batten Clip (Strand's word for it - I can't even find a parts list for these things) is a small metal insert that attaches to the lamp housing at the back of the unit by way of a knurled knob. The lamp cap, when inserted into the unit body, sleeves over this small metal piece. Turn the cap a 1/4 turn to the right, and it locks in place. Loosen the knurled knob and the Batten Clip and the cap move back and forth, allowing you to align the lamp. If you don't have the Batten Clip, you can't lock the lamp cap, and you can't align the lamp. The purpose was to be able to change out a lamp without losing the alignment setting for the instrument. The Batten Clip keeps the placement, and the cap just snaps in and out with 1/4 turns. So how big is this completely integral piece of equipment? About 3/4" long, 3/8" wide, and 1/4" thick. (roughly 2cm x 1cm x 5mm for those of you across the pond) Needless to say a bunch have been lost - over the years, I hope. So I have contacted Strand, and they don't have any. I've contacted my local suppliers, and they don't have any - many don't really believe such a unit as a Strand 2230 exists. I can hear it in their voices. And so I turn to the list. Do any of you out there know where I can find any of these "Batten Clips?" Thanks in advance for any help you can provide. Stephen Graham Tacoma Actors Guild Tacoma, Wa. P.S.: Sorry for the long post as my first. I'll try to keep 'em short from here out. ------------------------------ Subject: RE: Does anyone have parts for Strand 2230 lekos? Date: Tue, 7 Dec 2004 15:49:50 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74ADC1 [at] exchange.rmwc.edu> From: "Paul Schreiner" > P.S.: Sorry for the long post as my first. I'll try to keep=20 > 'em short from here out. T'aint a question of "keeping 'em short". If it takes 4782 words to say what needs to be said, say it in 4782 words. But if you need 4782 words to reply to someone else's post, at least do some snippage of their stuff first! :) Now, on to the question....umm, unfortunately I don't think I've ever seen a Strand 2230, so I can't help on the batten clips. Sorry! ------------------------------ Message-Id: <6.1.2.0.0.20041207134439.113d46d8 [at] mail.insightbb.com> Date: Tue, 07 Dec 2004 13:45:48 -0500 From: Mike Brubaker Subject: Re: Tech Support In-Reply-To: References: Just for fun, try sending your story here: https://www.nwa.com/talk/ttu.html ...and do tell us if you hear back! Mike At 10:22 AM 12/7/2004, Jeffrey E. Salzberg wrote: >Case in point: ------------------------------ Date: Tue, 7 Dec 2004 16:42:27 -0500 (EST) From: Boyd Ostroff Subject: Re: Tech Support In-Reply-To: Message-ID: References: Jeffrey, that must have been a terrible day and I sympathize with your frustration. But that's about as far as I'll go - we've all had our share of annoying airline delays and rude people. Sure, file your complaints, etc - which just wastes MORE of your time (like waiting on the phone for customer service or writing that long tale of woe for the stagecraft list). Personally I think you should just get over it.... Funny thing, our production manager here had never dealt with Northwest Airlines but recently had to book a flight for someone. He was very amused to find their website was nwa.com, since NWA meant something completely different to him ;-) | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: <468d2282041207134551f1ef0c [at] mail.gmail.com> Date: Tue, 7 Dec 2004 16:45:51 -0500 From: Michael Beyer Reply-To: Michael Beyer Cc: vectorworks-l [at] lists.nemetschek.net (VectorWorks User Discussion List) Subject: Import/Export to/from vectorworks/Rosco LPS Anyhone know how to do this and have it WORK? I am especialliy having trouble importing From LPS back to Spotlight. I can get the stuff from vectorworks to LPS with no problem, but into Vectorworks is REALLY a hassle. It completes the Import function, then it says "not all the units have been imported, they have been selected". I press ok, and it proceeds to select EVERY light and then give me a series of orphan lights at the bottom. I have tried linking it with the different id numbers and everything. Tried lots of combinations... any help? Michael -- www.mjblightdesign.com ------------------------------ Reply-To: From: "Shakespeare & Company Production Department" Subject: RE: Does anyone have parts for Strand 2230 lekos? Date: Tue, 7 Dec 2004 17:04:49 -0500 Message-ID: In-Reply-To: The local high school here installed a new facility about 6 or 7 years ago, and the package was completely Strand. I had never seen any of these units before I worked there, and didn't know their name. Now I do. The Genius board they bought also requires a genius to use it. I think part of it was my lack of Strand terminology at the time. I thought they got what was left in the warehouse, so to speak. Now it appears they might have. Lowest bidder and such. They have a bunch of dead units, but probably not any of the parts to sell, or not enough anyway. Nathan Towne-Smith Production Manager Shakespeare & Company (413) 637-8302 x15 (office) (413) 637-4274 (fax) production [at] shakespeare.org This e-mail message is intended for the use of the named recipient. It may contain information that is confidential or privileged. If the reader is not the intended recipient and has received this communication in error, please (1.) immediately REPLY to the sender, stating "This message was received in error," and (2.) delete all copies of this message and attachments. Thank you. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of sgraham42 [at] comcast.net Sent: Tuesday, December 07, 2004 3:16 PM To: Stagecraft Subject: Does anyone have parts for Strand 2230 lekos? ------------------------------ From: "Kevin Linzey" Cc: mjblight [at] gmail.com ('Michael Beyer') Cc: THEATER-L [at] LISTS.NEMETSCHEK.NET (VW Theatre List) Subject: RE: Import/Export to/from vectorworks/Rosco LPS Date: Tue, 7 Dec 2004 16:58:24 -0500 Message-ID: <003101c4dca7$dfe0fe50$1101a8c0 [at] KLinzeypc> In-Reply-To: Michael, Unless LPS has a way to store the UID (like Lightwright does) all the instruments will become orphan lights when imported back into Spotlight. You will need to map the UID field to one of LPS's fields even if you don't ever use it. What field did you pick was the UID field when you imported them back into Spotlight? Kevin ---------------------------- Kevin Linzey Nemetschek North America Integrated Products Engineer ----------------------------- > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Michael Beyer > Sent: Tuesday, December 07, 2004 4:46 PM > To: Stagecraft > Cc: VectorWorks User Discussion List > Subject: Import/Export to/from vectorworks/Rosco LPS > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Anyhone know how to do this and have it WORK? I am > especialliy having trouble importing From LPS back to > Spotlight. I can get the stuff from vectorworks to LPS with > no problem, but into Vectorworks is REALLY a hassle. It > completes the Import function, then it says "not all the > units have been imported, they have been selected". I press > ok, and it proceeds to select EVERY light and then give me a > series of orphan lights at the bottom. I have tried linking > it with the different id numbers and everything. Tried lots > of combinations... > any help? > > Michael > -- > www.mjblightdesign.com > ------------------------------ Date: Tue, 07 Dec 2004 17:19:20 -0500 From: MPTecDir [at] aol.com Cc: chofmann [at] capecod.edu Subject: Re: Do I really need a hoisting license? Message-ID: <7908DD92.4C36ED14.00740ECC [at] aol.com> IkhvZm1hbm4sIENocmlzdG9waGVyIiA8Y2hvZm1hbm5AY2FwZWNvZC5lZHU+IHdyaXRlczoK Cjw8SSd2ZSBqdXN0IGJlZW4gaW5mb3JtZWQgYnkgbXkgaGVhZCBvZiBNYWludGVuYW5jZSB0 aGF0LCBpbiBvcmRlciB0bwpvcGVyYXRlIHRoZSBKTEcgbGlmdCAuLi4uIE1hc3NhY2h1c2V0 dHMgbGF3IHN0YXRlcyB0aGF0IEkgbXVzdCBvYnRhaW4gYSBob2lzdGluZyBsaWNlbnNlLiAg QW5kLCB0aGF0IG9ubHkgbGljZW5zZWQgcGVyc29ubmVsIGFyZSB0byBiZSBhbGxvd2VkIHRv IHVzZSB0aGUgbGlmdCAoZWZmZWN0aXZlbHkgbmVnYXRpbmcgYW55IHN0dWRlbnQgdXNlLiku Li4uLi4uLi4uLgouLi5JIGp1c3Qgd2FudCB0byBtYWtlIHN1cmUgSSdtIGJlaW5nIHRvbGQg dGhlIHRydXRoLi4uLj4+CgpDaHJpcywKCkkndmUgbmV2ZXIgaGVhcmQgb2YgdGhpcy4gIE5v IG9uZSBoZXJlIGF0IFVNYXNzIGhhcyBicm91Z2h0IHRoaXMgdXAgaW4gYW55IHdheS4gIEkn bGwgY2hlY2sgYXJvdW5kIGFuZCBzZWUgaWYgYW55IG9mIHRoZSBvdGhlciBmYWNpbGl0aWVz IG9uIGNhbXB1cyBoYXZlIGVuY291bnRlcmVkIHRoZSBpc3N1ZS4KCkhvd2V2ZXIsIHdoZW4g SSB3b3JrZWQgYXQgdGhlIE1lYWRvdyBCcm9vayBUaGVhdHJlIGluIE1pY2hpZ2FuLCBNaU9T SEEgKE1pY2hpZ2FuIE9TSEEpIGRpZCByZXF1aXJlIGEgUFdMIChQZXJzb25uZWwgV29yayBM aWZ0KSBsaWNlbnNlLCB0aGF0IGhhZCB0byBiZSByZW5ld2VkIGV2ZXJ5ICAoSUlSQyAzIHll YXJzKS4gIFRoZSAibGljZW5zZSIgcmVxdWlyZWQgYSAxNS0yMCBtaW51dGUgaW5zdHJ1Y3Rp b24gc2Vzc2lvbiBhbmQgYSAxMCBtaW51dGUgdGVzdCwgZ3JhZGVkIG9uIHRoZSBzcG90IGJ5 IHRoZSB0ZXN0ZXIgd2hpY2ggY291bGQgYmUgYW55b25lIGFscmVhZHkgaG9sZGluZyB0aGUg bGljZW5zZS4gVGVzdHMgd2VyZSBmb3J3YXJkZWQgdG8gdGhlIGxvY2FsIE1pT1NIQSByZXAg KCBXZSB3ZXJlIGEgTE9SVCBob3VzZSwgbG9jYXRlZCBvbiB0aGUgT2FrbGFuZCBVbml2ZXJz aXR5IENhbXB1cyBzbyB0aGF0IG1lYW50IHRoZSBjYW1wdXMgc2FmZXR5IG9mZmljZSBvbiB0 aGUgb3RoZXIgc2lkZSBvZiB0aGUgcGFya2luZyBsb3QpLiAgV2hpbGUgdGhlIG9mZmljaWFs IGxhbWluYXRlZCBsaWNlbnNlcyB0b29rIHNldmVyYWwgd2Vla3MgdG8gYXJyaXZlLCBoYXZp bmcgcGFzc2VkIHRoZSB0ZXN0IHF1YWxpZmllZCB0aGUgaW5kaXZpZHVhbCB0byBvcGVyYXRl IHRoZSBsaWZ0IGFzIGxvbmcgYXMgeW91IGtlcHQgYSByZWNvcmQgb2YgdGhlIHRlc3QgZGF0 ZSBhbmQgc2NvcmUsIHdoaWNoIG9mIGNvdXJzZSB3ZSBkaWQuIEV2ZW4gdGhvdWdoIHdlIHdl cmUgYW4gSUEgaG91c2UsIHdlIHVzZWQgYSBsb3Qgb2Ygc3R1ZGVudCBsYWJvciBhcyBvdmVy LWhpcmUgYW5kIHRoZXkgYWxsIGhhZCB0byBiZSB0ZXN0ZWQgYW5kIGxpY2Vuc2VkIHRvIHdv cmsgd2l0aCBhIGxpZnQgZWl0aGVyIGFzIGEgb3BlcmF0b3Igb3IgZ3JvdW5kIGNyZXcuIEkg YWRtaXQgd2hlbiBJIGZpcnN0IHN0YXJ0ZWQgdGhlcmUsIHRoZSBsaWNlbnNlIHRoaW5nIGJs ZXcgbXkgbWluZCwgbXkga25lZSBqZXJrIHJlYWN0aW9uIHdhcyB0aGUgcmVnIHdhcyBib2d1 cyBhbmQgdW5yZWFzb25hYmxlIGFuZCAuLi4uLi4gYWxsIHRoZSByZXN0LiAgSW4gdHJ1dGgs IGl0IHdhcyBhIHJhdGhlciBtaW5vciBvYnN0YWNsZSBhbmQgd2UganVzdCBkZWFsdCB3aXRo IGl0LiAKCklmIHRoaXMgZG9lcyBiZWNvbWUgKG9yIGFscmVhZHkgaXMpIHRoZSBydWxlIGlu IE1hLiwgSSdsbCBzaW1wbHkgbWFrZSB0aGUgc2FmZXR5IHNlc3Npb24gd2UgaG9sZCBlYWNo IHNlbWVzdGVyIGluY2x1ZGUgdGhlIGluc3RydWN0aW9uIGFuZCB0ZXN0IHJlcXVpcmVkIGZv ciBzYWlkIGxpY2Vuc2UuICBUaHVzIGVhY2ggYW5kIGV2ZXJ5IHN0dWRlbnQsIGJ5IHRoZWly IHNlY29uZCBzZW1lc3RlciBvZiBiZWluZyBhIG1ham9yLCB3aWxsIGhhdmUgc2FpZCBsaWNl bnNlIGJlZm9yZSBiZWluZyBhc3NpZ25lZCB0byBhbnkgY3Jldy4gSXQgCgpBZnRlciBoYXZp bmcgZGVhbHQgd2l0aCB0aGUgaXNzdWUgYmVmb3JlLCBJIGNhbid0IHNheSBJIGRvbid0IGFn cmVlIHdpdGggdGhlIHJlcXVpcmVtZW50LCBhcyBsb25nIGFzIGl0IHN0YXlzIG9uIGEgcmVh c29uYWJsZSBsZXZlbCBpbiB0ZXJtcyBvZiB0ZXN0aW5nLCByZWd1bGF0aW9uIGFuZCBpbXBs ZW1lbnRhdGlvbi4gIAoKSG9wZSB0aGlzIGhlbHBzLgogCk1pY2hhZWwKCk1pY2hhZWwgUG93 ZXJzLCBUZWNobmljYWwgRGlyZWN0b3IKVSBNYXNzIEFtaGVyc3QsIERlcHQgb2YgVGhlYXRy ZQoxMTIgRmluZSBBcnRzIENlbnRlciBXZXN0CjE1MSBQcmVzaWRlbnRzIERyaXZlIE9mYyAy CkFtaGVyc3QsIE1BIDAxMDAzLTkzMzEKIApQaG9uZTogIDQxMy01NDUtNjgyMQpGYXg6ICAg IDQxMy01NzctMDAyNQpodHRwOi8vd3d3LnVtYXNzLmVkdS90aGVhdGVyLyAKbWZwb3dlcnNA dGhlYXRlci51bWFzcy5lZHUKbXB0ZWNkaXJAYW9sLmNvbQo= ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <55.680b4aaf.2ee78e71 [at] aol.com> Date: Tue, 7 Dec 2004 17:53:37 EST Subject: Re: Central Clusters In a message dated 07/12/04 19:45:33 GMT Standard Time, psyd [at] cox.net writes: > >Am I just being old and cantankerous that I found it disconcerting that > >Dame Edna's sound image in the mezzanine at the Music Box was central > >and overhead regardless of where Dame Edna was on stage. Well, perhaps. But I am in the same case as you are. Once, only, I have heard PA well done. It was "Guys and Dolls" at the National Theatre. I noticed the PA once, when somebody turned upstage, and didn't get quieter, Yes, the mix was done from the rear stalls, and no doubt that box office screamed about taking out six seats for the mixer. But, I say again, it was well done. Alas, this is not always true. > > Were under balcony speakers above you? Having the delay on those set > wrong could give the impression that the source was above, and hearing that > first, your brain would always assume that that was the original source. A > ten millisecond lead, while imperceptable to the forebrain, tells the rat > brain that this is the original, not a reflection, and therefore the origin. I didn't study the speaker placement, and that in itself is a sign that they got it right. Frank Wood ------------------------------ Subject: Re: Garden Brothers shows Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Tue, 7 Dec 2004 17:58:07 -0500 Ol' Keith Arsenault wrote: rom: IAEG [at] aol.com Message-ID: <36.677d1008.2ee6e41c [at] aol.com> Date: Tue, 7 Dec 2004 05:46:52 EST Subject: Re: Help: need info on Circus Gatti/Santa ShowRe: Stagecraft Digest #213 In a message dated 12/7/04 1:20:21 AM, phildqrak [at] mindspring.com writes: >"The GARDEN Family Circus", AKA Merlins Magical Horses, AKA Garden Family >Entertainment, AKA ** Icecapades, AKA Ira Garden, AKA Dick Garden, AKA >Niles Garden, also, , the Ian Garden operation I mentioned in an earlier post is based in Canada, , and I would not bunch them in the same group as the Dick Garden shows listed above ( based in Sarasota ) very best, Keith Arsenault Hey man don't blame Sarasota! Poor old Brad got royally screwed and it's not the first time they skipped owing Local 412 wages that were never seen again. I sold some supplies to their last Ice Show but nothing got delivered `til I had a check in my hand. I'd advise anyone to deal with them on that basis only. Marty Petlock ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1d1.2cb5332c.2ee78f58 [at] aol.com> Date: Tue, 7 Dec 2004 17:57:28 EST Subject: Re: Central Clusters In a message dated 07/12/04 19:59:23 GMT Standard Time, MOOREM4 [at] rpi.edu writes: > There's no balcony over the mezzanine so there's only the single central > loudspeaker cabinet and small side fills at the proscenium There are better ways to place loudspeakers in an auditorium. Depending on the stage form, I can think of several. Frank Wood ------------------------------ Message-ID: <41B63E14.60D8810B [at] cybercom.net> Date: Tue, 07 Dec 2004 18:34:44 -0500 From: Dale Farmer Subject: Re: Garden Brothers shows References: Marty_Petlock [at] sarasotagov.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Ol' Keith Arsenault wrote: > > rom: IAEG [at] aol.com > Message-ID: <36.677d1008.2ee6e41c [at] aol.com> > Date: Tue, 7 Dec 2004 05:46:52 EST > Subject: Re: Help: need info on Circus Gatti/Santa ShowRe: Stagecraft > Digest #213 > > In a message dated 12/7/04 1:20:21 AM, phildqrak [at] mindspring.com writes: > > >"The GARDEN Family Circus", AKA Merlins Magical Horses, AKA Garden Family > >Entertainment, AKA ** Icecapades, AKA Ira Garden, AKA Dick Garden, AKA > >Niles Garden, > > also, , the Ian Garden operation I mentioned in an earlier post is based in > > Canada, , and I would not bunch them in the same group as the Dick Garden > shows > listed above ( based in Sarasota ) > > very best, > > Keith Arsenault > > Hey man don't blame Sarasota! > > Poor old Brad got royally screwed and it's not the first time they skipped > owing Local 412 wages that were never seen again. I sold some supplies to > their last Ice Show but nothing got delivered `til I had a check in my > hand. I'd advise anyone to deal with them on that basis only. > > Marty Petlock How does IA deal with touring shows like this that have a habit of failing to pay their labor bills? Do they send out notices to all the locals so that they won't screw other members? Do they file with the appropriate governmental authorities to try and recover the owed wages? ANything else? --Dale ------------------------------ In-Reply-To: References: Message-Id: From: Paul Puppo Subject: Re: Work Boot Recommendations.... Date: Tue, 7 Dec 2004 15:37:12 -0800 For years I've sworn by Blundstone boots. Tough as hell, waterproof, no laces, soft when you buy them/virtually no break-in period. They don't have wide sizes, they are just built wide, with a roomy toe box, shaped more like the outline of a foot (ok, my foot), than a loaf of bread. No arch support to speak of, I used a Birkenstock boot insole very comfortably. I've worn them as my only shoe while traveling, walking 8 hours a day, no problems. Now I have a pair of Z-coils: Wow, these things are cool! Warning: you will get stares. They have a coil spring under the heel, and added padding under the ball of the foot. It's like walking on a mattress all day. Just think about how your feet (knees, ankles, legs...) feel after walking on a hard floor all day (8, 10, 13 hours)... You can't buy them online (maybe e-bay) because they want to fit you (just like "real" shoe sales people used to do), so if you have a Z-coil shop near you, I highly recommend trying on a pair. It takes a bit of getting used to, it's like wearing platform shoes, because your heal and ball of foot are farther from the floor, but when you get used to them... They're great. The only draw back is that they aren't great on ladders, you can do it safely, but I wouldn't want to spend all day in these shoes on a ladder... And the company recommends the "enclosed heel" for working around electrical cables and trip hazards. I have spent my whole adult career learning to step *over* cables and not drag my feet through them. So I haven't really had a problem with cables. That being said I did buy a set of "enclosed heels", the heels are interchangeable/replaceable. I have no affiliation with any of these companies, I'm just a customer with happy feet. Paul ILLUMINEERING 547 Green Street San Francisco, CA 94133-3905 (415) 397-8776 phone/fax http://www.Nifty-Gadgets.com mailto:Paul [at] Nifty-Gadgets.com On Dec 3, 2004, at 10:25 PM, qstage wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Hi all, > > The time has come to retire my pile of worn out boots, and I figured, > hell, > why not enliven the list with a debate about the merits of various > brands of > footwear. We all know WFWWD, but for those who like to protect their > soles > from puncture and support their arches, what say you? > > thanks, > > > Dylan Smith > The Quintessential Stage > Tucson, AZ > > > > > ------------------------------ From: sgraham42 [at] comcast.net Cc: production [at] shakespeare.org Subject: Re: Does anyone have parts for Strand 2230 lekos? Date: Wed, 08 Dec 2004 00:08:15 +0000 Message-Id: <120820040008.23820.41B645EE000C38B400005D0C2200763704CDCB030E080E9D099C [at] comcast.net> Do you know who they bought the stuff from? I might like to try following up on a couple of leads before pricing out whether custom fabrication would cost more than buying some source fours. Thanks. Stephen Graham Tacoma Actors Guild Tacoma, WA > > The local high school here installed a new facility about 6 or 7 years ago, > and the package was completely Strand. I had never seen any of these units > before I worked there, and didn't know their name. Now I do. The Genius > board they bought also requires a genius to use it. I think part of it was > my lack of Strand terminology at the time. I thought they got what was left > in the warehouse, so to speak. Now it appears they might have. Lowest > bidder and such. They have a bunch of dead units, but probably not any of > the parts to sell, or not enough anyway. > > Nathan Towne-Smith > Production Manager > Shakespeare & Company > (413) 637-8302 x15 (office) > (413) 637-4274 (fax) > production [at] shakespeare.org > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The local high school here installed a new facility about 6 or 7 years ago, > and the package was completely Strand. I had never seen any of these units > before I worked there, and didn't know their name. Now I do. The Genius > board they bought also requires a genius to use it. I think part of it was > my lack of Strand terminology at the time. I thought they got what was left > in the warehouse, so to speak. Now it appears they might have. Lowest > bidder and such. They have a bunch of dead units, but probably not any of > the parts to sell, or not enough anyway. > > Nathan Towne-Smith > Production Manager > Shakespeare & Company > (413) 637-8302 x15 (office) > (413) 637-4274 (fax) > production [at] shakespeare.org > > This e-mail message is intended for the use of the named recipient. It may > contain information that is confidential or privileged. If the reader is not > the intended recipient and has received this communication in error, please > > (1.) immediately REPLY to the sender, stating "This message was received in > error," and (2.) delete all copies of this message and attachments. Thank > you. > > > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of > sgraham42 [at] comcast.net > Sent: Tuesday, December 07, 2004 3:16 PM > To: Stagecraft > Subject: Does anyone have parts for Strand 2230 lekos? > > > ------------------------------ Message-ID: <468d2282041207161937b9f6b [at] mail.gmail.com> Date: Tue, 7 Dec 2004 19:19:26 -0500 From: Michael Beyer Reply-To: Michael Beyer Subject: Re: Import/Export to/from vectorworks/Rosco LPS In-Reply-To: References: Hi kevin, I got back to the office, repeated the process from beginning to end - making sure that I tracked where the UID was. I did not even use the Lightwright ID, I did not export it. Same results. Then I repeated the process as if LPS was lightwright - used the exact steps I would follow if I were using lightwright (which I used to be able to import and export without problem). Still same results. Seeing as how LPS is new, is there a step by step guide yet? I know with Lightwright there were some initial issues. I wonder if LPS is communicating something VW does not understand? I have contacted them twice about this, and they seem perplexed as well. Michael On Tue, 7 Dec 2004 16:58:24 -0500, Kevin Linzey wrote: > > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Michael, > > Unless LPS has a way to store the UID (like Lightwright does) all the > instruments will become orphan lights when imported back into Spotlight. > You will need to map the UID field to one of LPS's fields even if you don't > ever use it. > > What field did you pick was the UID field when you imported them back into > Spotlight? > > Kevin > > ---------------------------- > Kevin Linzey > Nemetschek North America > Integrated Products Engineer > ----------------------------- > > > -----Original Message----- > > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > > Of Michael Beyer > > Sent: Tuesday, December 07, 2004 4:46 PM > > To: Stagecraft > > Cc: VectorWorks User Discussion List > > Subject: Import/Export to/from vectorworks/Rosco LPS > > > > > > For info, archives & UNSUBSCRIBE, see > > > > --------------------------------------------------- > > > > Anyhone know how to do this and have it WORK? I am > > especialliy having trouble importing From LPS back to > > Spotlight. I can get the stuff from vectorworks to LPS with > > no problem, but into Vectorworks is REALLY a hassle. It > > completes the Import function, then it says "not all the > > units have been imported, they have been selected". I press > > ok, and it proceeds to select EVERY light and then give me a > > series of orphan lights at the bottom. I have tried linking > > it with the different id numbers and everything. Tried lots > > of combinations... > > any help? > > > > Michael > > -- > > www.mjblightdesign.com > > > > -- www.mjblightdesign.com ------------------------------ From: "Kevin Linzey" Cc: mjblight [at] gmail.com ('Michael Beyer') Subject: RE: Import/Export to/from vectorworks/Rosco LPS Date: Tue, 7 Dec 2004 20:00:13 -0500 Message-ID: <003f01c4dcc1$4611d870$1101a8c0 [at] KLinzeypc> In-Reply-To: I don't have a full copy of LPS so I can't test the export, only the = import. Take a look at the file that is exported by LPS. Make sure that there = are no empty fields, all empty fields should be replaced with a "-". =20 Spotlight matches exclusively with the UID Field. If it can't find an = exact match when importing it will create the orphan instrument. Import the = file into LPS, don't change anything, then export it. Look at the two files = and see what's different. If you want to send me the file that was exported from LPS and your VW = file I will take a look at it. Kevin ---------------------------- Kevin Linzey Nemetschek North America Integrated Products Engineer ----------------------------- > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf=20 > Of Michael Beyer > Sent: Tuesday, December 07, 2004 7:19 PM > To: Stagecraft > Subject: Re: Import/Export to/from vectorworks/Rosco LPS >=20 >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > Hi kevin, >=20 > I got back to the office, repeated the process from beginning=20 > to end - making sure that I tracked where the UID was. I did=20 > not even use the Lightwright ID, I did not export it. Same=20 > results. Then I repeated the process as if LPS was=20 > lightwright - used the exact steps I would follow if I were=20 > using lightwright (which I used to be able to import and=20 > export without problem). Still same results. Seeing as how=20 > LPS is new, is there a step by step guide yet? I know with=20 > Lightwright there were some initial issues. I wonder if LPS=20 > is communicating something VW does not understand? I have=20 > contacted them twice about this, and they seem perplexed as well. >=20 > Michael >=20 >=20 > On Tue, 7 Dec 2004 16:58:24 -0500, Kevin Linzey=20 > wrote: > >=20 > >=20 > > For info, archives & UNSUBSCRIBE, see=20 > > > > --------------------------------------------------- > >=20 > > Michael, > >=20 > > Unless LPS has a way to store the UID (like Lightwright=20 > does) all the=20 > > instruments will become orphan lights when imported back into=20 > > Spotlight. You will need to map the UID field to one of=20 > LPS's fields=20 > > even if you don't ever use it. > >=20 > > What field did you pick was the UID field when you imported=20 > them back=20 > > into Spotlight? > >=20 > > Kevin > >=20 > > ---------------------------- > > Kevin Linzey > > Nemetschek North America > > Integrated Products Engineer > > ----------------------------- > >=20 > > > -----Original Message----- > > > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of=20 > > > Michael Beyer > > > Sent: Tuesday, December 07, 2004 4:46 PM > > > To: Stagecraft > > > Cc: VectorWorks User Discussion List > > > Subject: Import/Export to/from vectorworks/Rosco LPS > > > > > > > > > For info, archives & UNSUBSCRIBE, see=20 > > > > > > --------------------------------------------------- > > > > > > Anyhone know how to do this and have it WORK? I am especialliy=20 > > > having trouble importing From LPS back to Spotlight. I=20 > can get the=20 > > > stuff from vectorworks to LPS with no problem, but into=20 > Vectorworks=20 > > > is REALLY a hassle. It completes the Import function,=20 > then it says=20 > > > "not all the units have been imported, they have been=20 > selected". I=20 > > > press ok, and it proceeds to select EVERY light and then give me a > > > series of orphan lights at the bottom. I have tried linking > > > it with the different id numbers and everything. Tried lots > > > of combinations... > > > any help? > > > > > > Michael > > > -- > > > www.mjblightdesign.com > > > > >=20 > >=20 >=20 >=20 > --=20 > www.mjblightdesign.com >=20 ------------------------------ Message-ID: <000d01c4dcc7$5a7f6ec0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Question about plugs and connectors Date: Tue, 7 Dec 2004 17:43:44 -0800 > Silly question, most likely, but this bit me once: have you turned on the > IR sensor in the BIOS settings on your laptop? > > At 12:00 AM 12/7/2004, Jon Ares wrote: > Except I can't get it to hotsync via IR with my HP laptop. Actually, I had never popped the hood on the BIOS of my Pavilion, until you suggested it. And guess what - there's no settings for the peripherals. (Except the parallel port.) Everything's buttoned down. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ End of Stagecraft Digest #220 *****************************