GLP started its U.S. operations in 2009 German Light Products is now a Sustaining Member of USITT. As part of their plan to expand their footprint in the U.S. the company has joined with USITT to advance their mission to connect performing arts technology communities. GLP Becomes Sustaining Member of USITT GLP German Light Products Inc. has announced that it has proudly become a Sustaining Member of USITT, the United States Institute for Theatre Technology. President of GLP Inc., Mark Ravenhill said “Since we started our US operations in 2009, we have been endeavouring to support more and more of the valuable associations within our industry, and we are very proud that we can now call ourselves members of USITT.” USITT is a not-for-profit Corporation and is operated exclusively for charitable, educational and scientific purposes. Carl Wake, Technical Director of GLP Inc. added, “We are very excited about working with, and supporting the organisation and in particular its student membership in any way that we can. Having done many years of product and application training through my career, I see some exciting opportunities ahead.” For more info about German Light Products, please visit www.germanlightproducts.com  

Categoria: teatro | Fonte: stage-directions.com

  The renovations at the Public Theater were finished in the fall of 2012. The Public Theater in New York City has successfully completed its Going Public Capital Campaign, having raised $42 million. The campaign paid for the renovation of its downtown home at Astor Place. The renovation was finished in the fall of 2012, and opened up the building to the street and transformed the lobby into a public “piazza.” Several of the larger gifts are being honored with named spaces, including the Ford Foundation Lobby ($2 million), the Whitton-Spector Library ($1 million), the Taub Box Office ($1 million), the Levin Mezzanine ($1 million). Other large donors include the LuEsther T. Mertz Charitable Trust ($1 million), Meryl Streep ($1 million, in honor of Nora Ephron and Joseph Papp), Bernard and Anne Spitzer Charitable Trust ($4 million), and the Susan Stein Shiva Foundation ($750,000). The largest donor, though, was the city of New York itself, with gave $28.5 million through the New York City Department of Cultural Affairs, the New York City Council and the Manhattan Borough President. THE PUBLIC THEATER ANNOUNCES COMPLETION OF GOING PUBLIC CAPITAL CAMPAIGN Landmark Institution Receives Major Gifts In Support of Revitalization Of Downtown Home at Astor Place May 13, 2013 – The Public Theater (Public Theater Artistic Director Oskar Eustis and Executive Director Patrick Willingham) announced today that it has successfully completed its Going Public Capital Campaign by raising $42 million.  The landmark institution has also received generous major gifts in support of its newly revitalized downtown home at Astor Place, resulting in several named spaces.  Fundraising continues throughout the year for community-based Public Theater programming, including Shakespeare in the Park, Mobile Shakespeare Unit, Public Works, and the Writers’ Initiative. The Library at The Public Theater , the intimate room that serves as the home for the acclaimed restaurant, has been named The Whitton-Spector Library in honor of Board Chair Warren Spector and his wife Margaret Whitton whose $1 million gift served as the first leadership commitment of the campaign. Spector joined The Public Theater Board in 2000 and was instrumental in the completion of the Going Public Capital Campaign. The Public Theater box office, now positioned prominently in the center of the renovated lobby, has been named the Taub Box Office in appreciation of a $1 million gift toward the capital campaign from The Henry and Marilyn Taub Foundation . Henry Taub joined The Public Theater Board in 1978 and was named an Honorary Board Member in 1996. Thirty five years later, the family is still represented on the Board, currently by Henry’s son, Steven Taub, who has been serving as a Trustee since 1997. A popular addition to The Public’s renovation is the new mezzanine overlooking the lobby that is open to the public and is available as a resource to the community as well as a meeting space for artists and audiences.  This area will now be called the Levin Mezzanine , named in honor of The Philip and Janice Levin Foundation who generously donated $1 million to help ensure that The Public Theater remains a focal point of the city’s cultural landscape and community. The LuEsther T. Mertz Charitable Trust , long-time funder and friend of The Public Theater, gave a $1 million grant to support the revitalization of the historic building. In addition, they contributed significant funding to support The Public’s rededication events last fall and ongoing institutional branding.  The Trust, and The Public’s former Chairman LuEsther T. Mertz, have provided leadership support to the organization since The Public Theater first opened its doors in its downtown home. “We are immensely grateful to our community, whose gifts, large and small, have made this revitalization possible,” said Artistic Director Oskar Eustis . “The philanthropic support of individuals and foundations represents one of the great achievements of American democracy: the consistent understanding that private wealth has the most impact when redirected to public purposes.” “This is an important time in The Public’s history as we successfully conclude our capital campaign and establish ourselves as a center for culture, arts and ideas in our newly renovated home at Astor Place,” said Executive Director Patrick Willingham . “We have been extremely fortunate to have received so many generous gifts that have been vital to our continued growth and will be instrumental as we rededicate ourselves to our mission and goals and begin to plan for the next 50 years.” The Going Public Capital Campaign was funded through a public-private partnership. Individuals, foundations, corporations, as well as state and local government all contributed to the project that raised $42 million, including an initial $28.5 million provided by the City of New York through the New York City Department of Cultural Affairs, the New York City Council and the Manhattan Borough President. “Starting with Joe Papp’s free Shakespeare performances in East River Park more than a half century ago, The Public Theater has played a remarkable role in New York’s cultural life,” said Cultural Affairs Commissioner Kate D. Levin . “The City is pleased to have joined these generous private partners in insuring that The Public can present exciting work in its beautifully renovated home on Astor Place for generations to come.” Other significant gifts in support of The Public’s revitalization and ongoing mission-based programming include a $2 million grant from the Ford Foundation which included renaming the lobby the “Ford Foundation Lobby;” a $1 million gift from Meryl Streep in honor of Nora Ephron and Joseph Papp; $4 million from the Bernard and Anne Spitzer Charitable Trust to support free Shakespeare in the Park and The Public Theater’s downtown home at Astor Place; a $750,000 gift from the Susan Stein Shiva Foundation in honor of the long history the Shiva family has with The Public  Theater, beginning with Susan Stein Shiva who was one of the founding members of the Board of Trustees; and the successful completion of a $1 million Challenge Grant from The Kresge Foundation wherein The Public raised private funds to match the generous gift. ABOUT THE PUBLIC THEATER’S DOWNTOWN REVITALIZATION Completed in October 2012, the revitalization of The Public Theater’s downtown home at Astor Place physically manifests the Company’s core mission of sparking new dialogues and increasing accessibility for artists and audiences by dramatically opening up its landmark building to the street and community, and transforming the lobby into a public piazza for artists, students, and audiences. Designed by Ennead Architects and constructed by Westerman Construction, the project encompasses enhancements to the building’s interior and exterior while preserving the historic structure. Key elements of the design include infrastructure updates to the 158-year old building, as well as construction of new exterior entry stair and glass canopy; installation of ramps for improved accessibility; an expanded and refurbished lobby; the addition of a mezzanine level with a new lounge, The Library at The Public, designed by the Rockwell Group; expansion and remodeling of restroom facilities; and comprehensive exterior restoration, ensuring stability of the landmark façade. ABOUT THE PUBLIC THEATER AT ASTOR PLACE Under the leadership of Artistic Director Oskar Eustis and Executive Director Patrick Willingham, 
The Public Theater is the only theater in New York that produces Shakespeare and the classics, musicals, contemporary and experimental pieces in equal measure. The Public continues the work of its visionary founder, Joe Papp, by acting as an advocate for the theater as an essential cultural force, and leading and framing dialogue on some of the most important issues of our day.  Creating theater for one of the largest and most diverse audience bases in New York City for nearly 60 years, today the Company engages audiences in a variety of venues—including its landmark downtown home at Astor Place, which houses five theaters and Joe’s Pub; the Delacorte Theater in Central Park, home to its beloved, free Shakespeare in the Park; and the Mobile Unit, which tours Shakespearean productions for underserved audiences throughout New York City’s five boroughs and beyond.  The Public’s wide range of programming includes free Shakespeare in the Park, the bedrock of the Company’s dedication to making theater accessible to all, new and experimental stagings at The Public at Astor Place, and a range of artist and audience development initiatives including its Public Forum series, which brings together theater artists and professionals from a variety of disciplines for discussions that shed light on social issues explored in Public productions.  The Public Theater is located on property owned by the City of New York and receives annual support from the New York City Department of Cultural Affairs. The LuEsther T. Mertz Charitable Trust provides leadership support for The Public Theater’s year-round activities.   www.publictheater.org

Categoria: teatro | Fonte: stage-directions.com

  The Sundance Theatre Lab will provide seven playwrights three weeks to develop their work. Sundance has announced the seven playwrights selected for its 2013 Theatre Lab. The seven playwrights are: Adam Bock ( The Colby Sisters of Pittsburgh, Pennsylvania ), Jackie Sibblies Drury ( Really Really Really Really Really ), Taylor Mac ( The Fre ), Mona Monsour ( The Vagrant ), Qui Nguyen ( War is F**king Awesome ). Mfoniso Udufia ( Sojourners ), and Paula Vogel ( The Vengeance Project ).  Seven East African theatre makers will join the Lab community as well. The Theatre Lab pairs plauywrights with directors and provides rehearsal space and creative support for playwrights in a day-on, day-off structure. Its three-week residency culminates in a closed presentation of each project for Lab participants, followed by a feedback session. SUNDANCE INSTITUTE SELECTS SEVEN PROJECTS FOR 2013 THEATRE LAB AT SUNDANCE RESORT, JULY 8-28PAULA VOGEL, TAYLOR MAC AND JACKIE SIBBLIES DRURY TO WORK ON THEIR LATEST SCRIPTS SEVEN SOUTH AFRICAN THEATER FELLOWS TO JOIN THE LAB New York, NY — Sundance Institute today announced the seven projects selected to participate in the 2013 Theatre Lab, July 8-28 at the Sundance Resort in Utah. Under the supervision of Philip Himberg , Artistic Director, and Producing Director Christopher Hibma , the Theatre Lab is the centerpiece of the Sundance Institute’s Theatre Program’s year-round work and is designed to support emerging and established artists and to create a place where their original work can be effectively mentored and challenged. The seven playwrights selected for the 2013 Theatre Lab in Sundance, Utah are: Adam Bock ( The Colby Sisters of Pittsburgh, Pennsylvania ), Jackie Sibblies Drury ( Really Really Really Really Really ), Taylor Mac ( The Fre ), Mona Monsour ( The Vagrant ), Qui Nguyen ( War is F**king Awesome ). Mfoniso Udufia ( Sojourners ), and Paula Vogel ( The Vengeance Project ).  Seven East African theater makers will join the Lab community as well. “We look forward to welcoming back a number of seasoned alumni this year as well as playwrights who are new to the Sundance Institute family,” said Artistic Director Philip Himberg . “The range of vision and process of these particular artists is vast. This mix of emerging and more experienced theater makers will create a lively and productive atmosphere at a Lab environment designed to support and amplify creative impulses and risk-taking.” “The work that comes to the lab for development needs to be strong to withstand an intense and challenging process,” said Keri Putnam , Executive Director of Sundance Institute.   “There is nothing more exciting than seeing passionate, committed storytellers take risks and push their work to be the best it can be.” The Lab environment is an atmosphere solely focused on development in which mentors (Creative Advisors), dramaturgs, actors in the Lab ensemble, and Sundance Institute artistic staff work with Fellows to address the compelling needs of her/his text. The Theatre Lab provides rehearsal space, dramaturgical support, an acting company, and stage management for playwrights, directors, choreographers, composers, solo performers and ensembles. The Lab’s unique day-on, day-off rehearsal structure provides Fellows the time to explore revising their work, without the pressure of daily rehearsals, as well as freedom from commercial attention. The three-week residency culminates in a closed presentation of each project for Lab participants, followed by a collaborative and specifically tailored feedback session. The seven East African Fellows who participated in the 2012 Theatre Stage Directors Workshop in Addis Ababa, Ethiopia and are  traveling to Sundance, Utah, will divide their time between mentorship sessions with director Liesl Tommy and rehearsals of Lab projects to experience first-hand how play development processes function. These artists are: Habiba Issa (Tanzania), Aida Mbowa (Uganda), Rogers Otieno (Kenya), Wesley Ruzibiza (Rwanda), Freddy Sabimbona (Burundi), Azeb Worku Sibane (Ethiopia) and Surafel Wondimu (Ethiopia). Fellows at the Lab will be supported by a team of advisors and colleagues who provide feedback on the material and process. Dramaturgs for the Lab are Janice Paran (Senior Program Associate), Elissa Adams (Minneapolis) and Jocelyn Clarke (Dublin, Ireland). Creative Advisors for the Lab are: Playwright Lynn Nottage and Artistic Director of Tricycle Theatre in London Indhu Rubasingham . The seven projects were selected with input from an Advisory Committee including: Program Associates Liesl Tommy and Mame Hunt Octavio Solis , Stephen Wadsworth and Senior Program Associate Janice Paran . Projects selected for the 2013 Sundance Institute Theatre Lab are: The Colby Sisters of Pittsburgh, Pennsylvania By Adam Bock Directed by Trip Cullman Meet the Colby sisters of Pittsburgh, Pennsylvania.  Five sisters, "It girls" slightly past their time, living in New York City, trying to figure out how to put up with each other. Family. What are you going to do? The Fre By Taylor Mac Directed by Lisa Peterson This project is part of Mac's "Kothornos Festival" (four plays that will premiere separately but ultimately be performed in an all-day festival mirrored after the Greek Dionysia). It is an all-ages play written in the form of Old Comedy. It is the story of an intellectual aesthete, who is trapped inside a mud pit in the middle of a swamp, and his desperate attempt at escaping the swamp's fatuous inhabitants who call themselves, the Fre. Commissioned by the Children's Theater Company. Really Really Really Really Really By Jackie Sibblies Drury Directed by Dan Rothenberg Sibblies Drury’s play centers on two women (the Mother and the Girlfriend of a conceptual artist who has vanished) leaving them to sort through his overwhelming body of work. It is a piece about artists, legacy and photography that asks about what we try to leave behind, what we actually leave behind, and how we deal with being left. Sojourners By Mfoniso Udufia Director TBD Abasiama Ekpeyoung came to America with high hopes for her arranged marriage and her future, intent on earning a degree and returning to Nigeria. But when her husband is seduced by America, she is forced to choose between the Nigerian or the American dream. The Vagrant By Mona Monsour Directed by Mark Wing-Davey England/London 1982. Part three of a trilogy. As Arab émigré, Adham faces his last hurdle to secure a coveted permanent position at university, a wave of "domestic terrorism" hits his chosen city, while at the same time, the family he's left behind in the Middle East faces their own escalating horrors. The life Adham has created threatens to unravel, destroying the political and personal equilibrium he's spent 15 years perfecting. The Vengeance Project By Paula Vogel Directed by Rachel Taichman Vogel’s latest play follows the circuitous path of Scholem Asch’s play God of Vengeance from 1905 Warsaw to 1951 Stamford Connecticut. It chronicles a contentious work written by a young man during the Yiddish Renaissance:  from the fights in the salon after its first reading in Warsaw to its triumph on Second Avenue New York—and onward to 1923 Broadway. What should be the pinnacle of the Yiddish theatre crossing over to the Great White Way becomes a spectacle of scandal:  prosecution for obscenity, struggles over anti-Semitism, and oh yes, the first kiss between two women on the American stage. When does one fight to produce a manuscript? When does prudence dictate a manuscript stays in the drawer? And when should an author burn his/her own script? War is F**king Awesome By Qui Nguyen Directed by Liesl Tommy A politically incorrect action-comedy following the life of Unity Spencer, a young colonial girl imbued with immortality but cursed to fight in every American conflict from the American Revolution to present day and beyond. About Sundance Institute Theatre Program : The Theatre Program has been a core component of Sundance Institute since Robert Redford founded the Institute in 1984. The Theatre Program identifies and assists emerging theatre artists, contributes to the creative growth of established artists, and encourages and supports the development of new work for the stage. Under the guidance of Artistic Director Philip Himberg and Producing Director Christopher Hibma, the Theatre Program is the leading play development program in the United States. Titles such as Spring Awakening, An Iliad, I Am My Own Wife, The Good Negro, Circle Mirror Transformation, Passing Strange, Grey Gardens, Crowns and Marie Antoinette have gone from Theatre Program Labs to production from coast to coast and internationally, garnering multiple Pulitzers, Tonys, Obies and other recognition. The Theatre Program’s East Africa initiative is the only professional program of its type on the continent, offering Labs, cross-cultural exchange, mentorship and exposure to artists in six African countries. www.sundance.org/theatre About Sundance Institute :  Founded by Robert Redford in 1981, Sundance Institute is a global, nonprofit cultural organization dedicated to nurturing artistic expression in film and theater, and to supporting intercultural dialogue between artists and audiences. The Institute promotes independent storytelling to unite, inform and inspire, regardless of geo-political, social, religious or cultural differences. Internationally recognized for its annual Sundance Film Festival and its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Beasts of the Southern Wild, Amreeka, An Inconvenient Truth, Spring Awakening, Light in the Piazza and Angels in America. Join Sundance Institute on Facebook , Instagram , Twitter and YouTube .

Categoria: teatro | Fonte: stage-directions.com

  The Broadway League tracks trends in road audiences as distinct from Broadway theatregoers. The Broadway League has released its latest biennial report of audience demographics for touring Broadway shows, covering the 2011-2012 season. The report tracks the profiles of “road” audiences as distinct from Broadway theatregoers. Important trends in this years report include the fact that Tony Awards are more important than ever for audiences choosing to see a show (21% said it was important, as compared to only 8% in 2005-2006); the Internet ticket-buying continues to grow, with 47% of people now buying a ticket online; and 75% of respondents said they’d prefer to receive info about shows electronically as opposed to via postal mail. Full copies of the report are available for purchase on the Broadway League’s website. THE BROADWAY LEAGUE REVEALS “THE AUDIENCE FOR TOURING BROADWAY” FOR 2011 – 2012 SEASON Internet Ticket Buying on the Rise The Tony Awards® More Influential in Show Selection (New York, NY)  May 13, 2013 – The Broadway League has released its eighth edition of the demographics report, The Audience for Touring Broadway 2011 – 2012 . Updated on a biennial basis, it tracks profiles of audiences throughout the country, analyzes changes over time, and denotes the unique characteristics and theatergoing habits that distinguish “road” audiences from Broadway theatergoers in New York. There were nearly 13 million admissions to Touring Broadway shows across the country during the 2011 – 2012 season. Touring Broadway is essential to theatre in this country in terms of visibility, audience development, and economic impact to metropolitan areas across America. “With a wide array of touring shows, theater-goers have great options when determining what shows to see,” said Charlotte St. Martin, Executive Director of The Broadway League. She continued, “This report illustrates demographics and theatre-going habits in a detailed way. Our mission is to help provide resources to our members across the country to assist them in enhancing ticket sales.” Many of the key characteristics are similar to past reports, but include the following new highlights from the analysis: Twenty-one percent of respondents said that Tony Awards or nominations were a reason they attended the show, compared to 18% in the 2009 – 2010 season and 8% in the 2005 – 2006 season. Forty-seven percent of touring Broadway theatregoers used the Internet to purchase their tickets, the highest percentage yet. Thirty-four percent of respondents said they made a visit to New York City in the past year. Of those, 82% attended a Broadway show while in town. Facebook was the most widely used social networking site. Three quarters of respondents said they would prefer to receive theatre information electronically, rather than via postal mail. The Audience for Touring Broadway is published biennially by The Broadway League, the clearinghouse for information on the business, demographics and economic impact of Broadway theatre throughout North America.  The League compiles various statistics and publishes extensive reports on a number of topics. Printed versions of the reports are available for purchase online at: www.BroadwayLeague.com under Research and Information. About the Methodology Surveys were administered electronically. Presenters across the country sent invitations via e-mail to their customer mailing lists, asking theatergoers to respond online. The method for data collection for this report is different from previous reports in this series in that information was collected via email, rather than in-theatre surveys. In total, 18,389 theatregoers responded. About The Broadway League The Broadway League, founded in 1930, is the national trade association for the Broadway industry. The League’s 700-plus members include theatre owners and operators, producers, presenters, and general managers who present in nearly 200 markets in North America, as well as suppliers of goods and services to the theatre industry. Each year, League members bring Broadway to nearly 30 million people in New York and on tour across the U.S. and Canada. For more information, visit www.BroadwayLeague.com , or follow The Broadway League on Twitter @TheBwayLeague or on Facebook at www.facebook.com/BroadwayLeague . Download the free Internet Broadway Database, IBDB app , for iPhone, iPad, and iTouch on iTunes.

Broadway theatres are filled with an exciting array of new and classic musicals and plays, providing the perfect experience for every audience. Great seats are available at every price point and are easy to buy online, by phone, or in person at theatre box offices. It's always the perfect time to see a show. Broadway performs every day of the week at multiple curtain times to accommodate every schedule.

The Broadway League annually presents the Antoinette Perry “Tony” Awards, ® one of the most coveted awards in the entertainment industry, with The American Theatre Wing.

Categoria: teatro | Fonte: stage-directions.com

  The Soundcraft Vi4 at FOH, and an unfamiliar site at Shakespeare’s Globe: A line array hung from the rafters. The Shakespeare’s Globe Theatre is a recreation of the original Elizabethan playhouse on London’s South Bank. Made of wood, a full-loaded audio reinforcement system has never been allowed in the space, thanks to weight and structural concerns. But for a recent celebration of Shakespeare’s birthday, that all changed. ARC Sound supplied two symmetrical hangs of six JBL VerTec VT4887A compact line array elements, with two pairs of JBL VT4880A subs recessed under the stage apron, for the celebration, and a Soundcraft Vi series digital mixing console at FOH. ARC was careful to ensure that the line array elements didn’t put more than a quarter-ton of weight on the oak beams in the ceiling, and that they were all aimed in such a way as to not direct any sound directly out of the Globe’s thatched roof. ARC Sound Works Its Magic As Shakespeare’s Globe Takes Full Production For First Time Ever with HARMAN’s Soundcraft Vi Consoles LONDON, England – Over the years, London based live production company ARC Sound has produced many corporate functions in the Underglobe, the events space situated beneath London’s famous Shakespeare’s Globe Theatre. But since the reconstruction in wood of the original Elizabethan playhouse on the Thames South Bank, a full production set up has never been allowed, or indeed attempted, in the main theatre space itself. However, all that has now changed. To celebrate the Bard’s birthday this month, a concert audio production set-up was allowed into the 1500-capacity space for the first time. As James Dougill’s company has a long standing contractor relationship with the venue, they were asked to plan and produce a working solution which would meet both the technical requirements of the performances, whilst also being sympathetic to the unique nature of the building. Billed as ‘an evening of music and magic’ ARC Sound dipped into their extensive inventory, and deployed a JBL VerTec line source array loudspeaker system and Soundcraft Vi series digital mixing consoles as the key sound reinforcement components. “This production was unique, as The Globe hasn't allowed anything this ambitious to take place previously,” confirmed Dougill. “I am certain eyebrows were raised initially when all these flight cases started appearing in a venue made entirely out of wood. But the fact we were able to achieve this without creating any noise pollution was down to the detailed pre-production planning we undertook before the event.” They also ensured that the main loudspeaker system complied with the maximum weight load of no more than a ¼-tonne to the oak beams in the theatre’s ceiling. Headlining were The Magic Numbers, supported by singer songwriter Johnny Flynn, along with magicians Barry and Stuart, Piff The Magic Dragon and Chris Cox. With the exception of the Magic Numbers all other performances took place on an oval thrust, which was in front of the main loudspeaker array hangs. For the main PA, ARC Sound suspended two symmetrical hangs of six JBL VERTEC® VT4887A compact line array elements, with two pairs of JBL VT4880A subs recessed under the stage apron. Each driver was individually addressed to provide alignment delay in a mini-cardioid configuration. Added to this were two fill clusters, each comprising three JBL VRX928LA Constant Curvature loudspeakers. The ARC Sound director explained the rationale behind the design. “Although the throw distance was quite small, the coverage we required was steep—and since we were unable to suspend any further weight from the theatre ceiling, we opted for sharply angling back the VRX clusters. The key criteria here was the vertical coverage required to distribute sound evenly from the downstage edge right up to the third tiered balcony.” The system was set up using a combination of the VERTEC LAC2 (JBL’s dedicated line array calculator) and Smaart field analysis, coupled with the company’s own extensive experience of deploying and using the products. With a thatched open roof, James Dougill was mindful of the potential hazards of sound spill encroaching onto the Thames. “I wanted to get the boxes up into the air, focussed downwards, rather than on the ground pointing up,” he said. “Monitoring the volume during the show was more a question of using common sense than the SPL metering and LAeq measurement equipment we’d set up.” At front of house ARC Sound fielded their Soundcraft Vi4, with 64-channel software upgrade, while down at the stage Raghav Narula was responsible for all of the onstage monitor mixes (also operating at near 64-channel capacity on one of the company’s Soundcraft Vi1 consoles). James Dougill mixed the house sound, before creating a generic FOH set up (and an external rack of FX) for The Magic Numbers’ sound engineer Max Bisgrove — but instead, Max preferred to use all the desk’s internal reverbs and FX. Summing up, Dougill said the quality of the amplified sound could hardly have been better. “The full range of VERTEC and VRX loudspeakers we stock gives us a very broad tool set to work with, and can be consistently relied upon to deliver.  Their profile was ideally suited to this application, and if the glowing comments we’ve received about the sound quality are anything to go by, we got it right. “It was a huge privilege to have been involved in this project — and The Globe were so delighted they are already talking about the next event.” HARMAN ( www.HARMAN.com ) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Categoria: teatro | Fonte: stage-directions.com

  A moment from Hello Dolly! At Ford’s Theatre. Lighting design by Colin K. Bills. 4Wall D.C. supplied the gear. Colin K. Bills was tapped by D.C.’s Ford Theatre and Virginia’s Signature Theatre to design lights for a co-production of Hello Dolly . Bills, in turn, tapped 4Wall D.C. to supple the gear to fulfill his vision. The opening number needed a number of specials for solos, and Bills’ design called for those specials to be tightly focused, but soft and sepia-toned. Bills decided on Martin MAC Auras and Vari*Lite VL3500 fixtures (along with some conventionals) to make it happen, and 4Wall D.C. supplied the fixtures he needed. 4Wall DC Lights ‘Hello, Dolly!’ at Historic Ford’s Theatre Washington, DC- 4Wall DC recently provided lighting for the entire run of Tony-winning musical ‘Hello, Dolly!’ at Ford’s Theatre.  Directed by Eric Schaeffer, the production features lighting design by Colin K Bills. Bills’ design took cues not only from the set design, but also from the historic venue itself. The set, designed as an abstracted train station, featured a dominant arched window, reminiscent of Grand Central Station in NYC.  Ford’s naturally raked stage (a common component of 19 th century theatre architecture) served to make the floor itself an additional focal element of the lighting design. “From my point of view, the window was a giant surface to take color and texture over the course of the show,” said Bills.  “Like the window, the floor also became a predominant surface for texture and color: angular and ochre in the Feed Store, softly amorphous and lavender in the Hat Shop; different saturate colors and a soft mirror ball effect for the Harmonia Gardens.” Changes to the classic production itself also presented a challenge for Bills to solve.  While the opening number of ‘Hello, Dolly!’ is traditionally a large chorus number, for this incarnation the song was sung as a series of solos. “The solos needed to be highlighted by a number of tight, soft specials.  Because this musical takes places in the 1890s, I wanted those specials (while tightly focused) to have a softness and slightly sepia tone that portrayed that sense of a romantic, bygone era.” All of these design choices drove the need for equipment that could give a broad sense of colors while also providing the ability to zoom in tight, or even wash the stage.  Bills chose Martin MAC Auras and Vari*Lite VL3500 fixtures from 4Wall DC along with other conventional fixtures to accomplish his task. “4Wall was great in providing those Auras,” said Bills. “I try to use LED fixtures whenever I can as the colors are pure and bright when I need them to be.  The Auras were the workhorse for the show, really lifting the design, and they worked like a dream.” For more info on Ford’s Theatre, visit www.fords.org For more info on Colin K. Bills, www.ColinKBills.com  

Categoria: teatro | Fonte: stage-directions.com

  PLASA has brought two draft standards regarding arena rigging into public review. PLASA has two more draft standards pertaining to arena rigging available for public review through July 7. are BSR E1.6-4, Portable Control of Fixed-Speed Electric Chain Hoists in the Entertainment Industry, and BSR E1.39, Entertainment Technology – Selection and Use of Personal Fall Arrest Systems on Portable Structures Used in the Entertainment Industry. Draft Standards for Chain Hoist Control and Fall Arrest in Public Review Two draft standards have been added those available for public review on PLASAs' website at http://tsp.plasa.org/tsp/documents/public_review_docs.php . The draft standards are BSR E1.6-4, Portable Control of Fixed-Speed Electric Chain Hoists in the Entertainment Industry, and BSR E1.39, Entertainment Technology – Selection and Use of Personal Fall Arrest Systems on Portable Structures Used in the Entertainment Industry. The draft standards are available for review through July 7; the reviews will be over and the links will disappear on the July 8 "Review End Date." The two draft standards are relevant to arena rigging. BSR E1.6-4 is for the simple control systems for chain hoists to lift portable trusses and grids. BSR E1.39 is for personal fall arrest systems used by people working on those trusses and grids, and other portable structures (e.g., lighting towers) commonly used for shows. For more information, please contact Karl Ruling, PLASA's Technical Standards Manager, at karl.ruling@plasa.org .

Categoria: teatro | Fonte: stage-directions.com

  Nilo Cruz’s  Anna and the Tropics is now available in Scene Partner Scene Partner has added eight new e-Scripts from Nilo Cruz to its library. The scripts, licensed by Dramatists Play Service are Anna in the Tropics , Two Sisters and a Piano, Life is a Dream, A Bicycle Country, Beauty of the Father, Doña Rosita The Spinster, Hortensia and the Museum of Dreams and Night Train to Bolina . These scripts are currently available for purchase with Scene Partner, the line-memorization app, and cost $9.99 each. Scene Partner(R) Adds Eight New e-Scripts(TM) From Dramatists Play Service – Featuring 2003 Pulitzer Prize Winning Playwright Nilo Cruz MyTheaterApps.com announces immediate availability of eight new e-scripts™ by Nilo Cruz, including 2003 Pulitzer Prize Winner Anna in the Tropics. Other e-Scripts from Mr. Cruz Include Two Sisters and a Piano, Life is a Dream, and A Bicycle Country . Norwalk, CT (PRWEB) May 10, 2013 Eight new e-Scripts™ from Pulitzer Prize Winner Nilo Cruz have been added to the growing library of titles available on the Scene Partner® WebStore for use in the Scene Partner App. Resulting from the worldwide e-Script agreement between Dramatists Play Service and MyTheaterApps.com, the titles by Mr. Cruz are available to actors and theaters for use in memorizing lines and mounting future theatrical productions of his plays. The new e-Scripts from Mr. Cruz include: Anna in the Tropics Winner of the 2003 Pulitzer Prize for Drama. A poignant and poetic play set in Florida in 1929 in a Cuban–American cigar factory, where cigars are still rolled by hand and "lectors" are employed to educate and entertain the workers. The arrival of a new lector is a cause for celebration, but when he begins to read aloud from Anna Karenina, he unwittingly becomes a catalyst in the lives of his avid listeners, for whom Tolstoy, the tropics and the American dream prove a volatile combination. "Mr. Cruz has created a work as wistful and affectingly ambitious as its characters. Anna in the Tropics reaches for the artistic heavens..." 
– NY Times "...enticing and exotic...entrancingly lovely... " 
– Variety Two Sisters and a Piano Set in 1991, during the Pan American Games in Havana and while the Russians are pulling out of Cuba, this play portrays two sisters, Maria Celia, a novelist, and Sofia, a pianist, serving time under house arrest. Passion infiltrates politics when a lieutenant assigned to their case becomes infatuated with Maria Celia, whose literature he has been reading. "It's one of the most fascinating cat-and-mouse games to be seen on the stage." 
– Star-Ledger Life is a Dream Astrological omens predict that if King Basilio's son Segismundo is crowned, he will become a horrible tyrant who will bring destruction to his kingdom. In Nilo Cruz's translation of Calderón de la Barca's classic, the question of whether life is a dream or an illusion takes on a renewed relevance and urgency. "...richly elegant translation..." 
– Orange County Weekly Other new e-Script titles from Mr. Cruz are A Bicycle Country, Beauty of the Father, Doña Rosita The Spinster, Hortensia and the Museum of Dreams and Night Train to Bolina . These new e-Script titles from Nilo Cruz are available on the Scene Partner WebStore for only $9.99 each. About MyTheaterApps.com: MyTheaterApps.com is the developer of Scene Partner, an award-winning App for the iPhone, iPad and iPod Touch that helps actors learn their lines using their own scripts or by choosing from a growing collection of Publisher e-Scripts—the authorized Acting Editions designed specifically for use with Scene Partner. MyTheaterApps.com has e-Script agreements with Samuel French Inc., Dramatists Play Service and Music Theatre International. Scene Partner merges text-to-speech software from the Acapela Group, voice recording and advanced algorithms to provide a unique and innovative tool for actors. At its launch Apple listed Scene Partner as "New and Noteworthy" on the home page of the App Store. Scene Partner has won multiple awards for design excellence and a 2011 Gold CQIA Innovation Prize. Scene Partner has been featured in Variety, BACKSTAGE, Wall Street Journal Online, Stage Directions, Stage Magazine, SETC News and DRAMATICS Magazine.

Categoria: teatro | Fonte: stage-directions.com

  The Cunningham Performance Hall has many possible configurations, with sound in each handled by a Meyer Sound Constellation system. Meyer Sound’s Constellation acoustic system allows the Cunningham Performance Hall at Mansfield ISD Center in Mansfield, Texas, to sound good no matter what configuration the room is in, from its full 5,500 seat configuration all the way down to 1,800 seats with the side walls moved to create side rooms and an acoustic banner blocking off the balcony. The Huckabee architectural firm of Fort Worth designed the Center, and Infinity Sound of Grand Prairie handled system integration for the AV systems, including Constellation. Meyer Sound Constellation Helps Mansfield Performing Arts Center Combine Several Halls into One When planning its new performing arts centre, the Mansfield, Tex., school district faced a dilemma. Though it was determined that both a large auditorium and a smaller performance hall would be ideal for its range of events, their budget could not justify building and maintaining multiple spaces. A solution was soon found in the multi-use Cunningham Performance Hall of the Mansfield ISD Center for the Performing Arts, which utilizes a Meyer Sound Constellation® acoustic system to provide the ideal acoustics for its varying room configurations and programs. While the performance hall holds 5,500 in its open configuration (mainly to accommodate graduations), seating is reduced to 4,200 when moveable walls slide out to form twin 650-seat lecture halls on each side, and reduced further to 1,800 when a thick acoustical curtain closes off the balcony for concerts. However, the 1.3 seconds of reverberation time resulting from the curtain makes the room too dry to support unamplified concerts such as orchestra and choir. To solve this issue, BAi, LLC of Austin, Principal and President Charles Bonner and Acoustician Andrew Miller encouraged Dr. Russell Sanders, the district’s director of fine arts, to experience the Constellation system at nearby Temple High School. “I was astonished,” says Sanders. “The system created a transparent and supportive acoustical environment throughout the performance hall.” The Cunningham Performance Hall’s Constellation system is built around a core D-Mitri® digital audio platform with eight processing frames, including three processors for hosting the patented VRAS® algorithms. Two dozen microphones distributed on stage and around the hall pick up the stage and room’s acoustics, and the DVRAS processors produce augmented early reflections and reverberations that are delivered by 95 Meyer Sound self-powered loudspeakers and subwoofers. Eleven different acoustical presets of varying reverberation times are available on a touchscreen interface. “There is absolutely no way we could use this space for live musical performances without the Constellation system,” Sanders adds. “The acoustics created by Constellation give kids the experience of performing in a world-class facility. In addition, the technology allows us to fine-tune the natural acoustical environment to suit whatever we are doing in the space.” The new hall now serves as a concert venue for dozens of school programs and high-profile community events, including a major church-sponsored program and a recent fundraising concert by the Dallas Symphony Orchestra. The Mansfield ISD Center for the Performing Arts was designed by Huckabee architectural firm of Fort Worth. In addition, Infinity Sound of Grand Prairie handled system integration for the centre’s AV systems, including Constellation. ABOUT MEYER SOUND Family owned and operated since 1979, Meyer Sound Laboratories, Inc. designs and manufactures high-quality, self-powered sound reinforcement loudspeakers, digital audio systems, active acoustic systems, cinema sound systems, and sound measurement tools for the professional audio industry. Founded by John and Helen Meyer, the company has grown to become a leading worldwide supplier of systems for theatres, arenas, stadiums, theme parks, convention centers, houses of worship, and touring concert sound rental operations. Meyer Sound’s main office and manufacturing facility are located in Berkeley, California, with field offices and authorized distributors located throughout the USA and around the world. Meyer Sound is a registered trademark of Meyer Sound Laboratories, Inc. All rights reserved. Become a fan of Meyer Sound on Facebook: http://www.facebook.com/meyersoundlabs Follow Meyer Sound on Twitter: http://twitter.com/meyersound

Categoria: teatro | Fonte: stage-directions.com

  Hosts Sheridan Smith and Hugh Bonneville in front of video gear supplied by XL Video at the 2013 Olivier awards XL Video supplied the video equipment for the 2013 Olivier Awards (the U.K. awards that honor the best of British theatre) and sponsored the Olivier Award for Best Set Design. XL supplied the center-stage LED screen, built from 84 Pixled FX-11 tiles, two side screens made up of 5 x 6 tiles and 5 x 8 Pixled panels in portrait mode. XL Video also supplied scenic LED for the band risers in the form of Barco MiStrips as well as video for the live outside broadcast site in Covent Garden Piazza. Full details about the kit and the video set up after the jump. XL Video Supplies Video Package for the 2013 Olivier Awards The Olivier Awards are a glittering celebration of the very best of British Theatre, recognising actors and productions alike for stunning performances across a range of genres. For the 3 rd consecutive year, XL Video sponsored the Award for Best Set Design (won by Bunny Christie and Finn Ross for ‘ The Curious Incident of the Dog in the Nightime’) as well as supplying video equipment for the awards ceremony. At London’s Royal Opera House, XL supplied the centre-stage LED screen, built from Pixled FX-11, 12 tiles wide by 7 tiles high, which linked up with the ITV broadcast feed and displayed live camera relay, VT clips and nomination packages. The main screen was matched on either side by two dynamic portrait orientated screens measuring 5 x 6 tiles and 5 x 8 tiles respectively, which showed nominee logos, special guest awards and Olivier logos. Content for the side LED screens was fed by XL’s Catalyst media servers (main and ‘hot’ backup) programmed and operated by Dan Bond with the main screen fully operated by the ITV Broadcast team. XL Video also supplied scenic LED for the band risers in the form of Barco MiStrips. These were controlled via an additional dedicated main and backup lighting Catalyst unit, triggered from a grandMA2 console supplied by White Light. For the presenters, Sheridan Smith and Hugh Bonneville, XL supplied a 65” Panasonic plasma screen for autocue, supported by several more plasma screens providing relay feeds to the press office, winners’ area and Royal Box. All of XL’s LED at the Opera House was managed by Graham Vinall, Jolyon Oliver, Rob Smith, Steve “Spooky” Parkinson and Dan Bond, led by Project Manager Ed Cooper. In addition to the Opera House ceremony, XL supplied video for the live outside broadcast site in Covent Garden Piazza. During the ceremony the broadcast feed cut to the Piazza for the announcement of the special BBC Radio 2 Audience Award - to Billy Elliot The Musical - and for a one-off performance from the cast of ‘Loserville’. In Covent Garden two 4 tile by 3 tile IMAG screens, formed from Lighthouse R7, showed a live relay of the ITV feed. Prior to the show XL’s Catalyst media server, running via a Roland V-800HD mixing desk, supplied the screens with footage of the Olivier Awards’ nominees interspersed with advertising from the Society of London Theatre. XL’s screens and Catalyst in Covent Garden were managed by Ed Goddard, Catalyst Programmer Ingi Bekk and LED technicians Jan Van Geet and Gary Burchett. Ed Cooper comments: “To be a part of the Laurence Olivier Awards is a great honour. It is fantastic to see colleagues in the industry and projects we have worked on receiving recognition. It is always tricky managing the two sites whilst fitting in around the busy Royal Opera House repertory schedule, but with a hard working crew and great teamwork, the ceremony was a huge success.” For more press info on XL Video UK, visit www.xlvideo.com

Categoria: teatro | Fonte: stage-directions.com