Download To our guest directors, designers and stage managers, Welcome

To our guest directors, designers and stage managers,
Welcome! We are delighted that you have chosen to be a part of our 31st Season. We are
looking forward to a year full of new challenges, rewards, and friendships.
We hope to make your time with us enjoyable and productive, and to this end we have
provided you with this informational packet. Please take the time to browse the packet and
learn a bit about us.
Included in your handbook are production calendar(s), contacts (as current) for your
production’s artistic team, information about the shops and the design deadlines, and much
more. Please take the time to review our prelim and final design deadline
materials requirements.
Please contact the production office, or the respective production department head(s) for the
most current drawings, inventories and information as this info is updated more often than
our handbook.
We will all have to work hard to realize your vision within a tight and conservative financial
structure. We have had to cut back after our 30th Anniversary season with it’s $1 million
dollar supplemental gift to budgets that are more reflective of the new normal of these leaner
times. Last season our average show budget was over $160,000. This year the average is less
than $100,000.
Please consider yourself forewarned that we want your help. We need you to adhere to design
deadlines, return those phone calls and emails as soon as you can, in order that we get the
most bang for the buck. Sometimes we start a little early in order make the best use of our
labor resources. Our schedule is tight - we’re busy. You are too. The better we can plan
ahead, the more satisfying the onstage result. Enough said.
We’ve got a great team of technicians, artists and craftspeople, from top to bottom. Our
audiences expect great work from us, our national profile has grown, and we take pleasure in
delivering great production values.
If you are ever in need of further information, have questions, need assistance… please give
any of us a call.
Sincerely,
Todd D. Williams, Production Manager
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PRODUCTION
DESIGN PACKET
2012 - 2013 SEASON
TABLE OF CONTENTS
QUICK REFERENCE
2
CONTACT INFORMATION
LOCATIONS
MAILING ADDRESS
BUSINESS HOURS
WEBSITE AND INTERNET RESOURCES
PRODUCTION STAFF CONTACT SHEET
2
2
2
2
2
3
DESIGN PRODUCTION DEPARTMENT INFORMATION
4
DEADLINE DEFINITIONS
PRODUCTION MEETINGS
FIRE RULES AND REGULATIONS
SCENERY/ PAINTS/PROPERTIES
LIGHTING
SOUND
COSTUMES
STAGE MANAGEMENT
TYPICAL TECH WEEK EXAMPLE
4
7
8
9
12
13
15
17
18
INFORMATION FOR OUR GUEST ARTISTS
19
COMPANY MANAGEMENT
WHO WE ARE
WHAT WE DO
ABOUT THE HUNTINGTON THEATRE COMPANY
HISTORY OF THE BOSTON UNIVERSITY THEATRE
ABOUT THE CALDERWOOD PAVILION
OUTREACH AND SPECIAL PROGRAMS
SERVICE PLEDGE
SAFETY COMMITTEE
FULL STAFF PHONE/EMAIL DIRECTORY
20
20
20
21
22
24
25
27
28
29
APPENDICES
33
APPENDIX A: THE BOSTON UNIVERSITY THEATRE
APPENDIX B: THE VIRGINIA WIMBERLY THEATRE
APPENDIX C: THE NANCY AND EDWARD ROBERTS STUDIO THEATRE
APPENDIX D: PRODUCTION HISTORY
1
33
53
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QUICK REFERENCE
CONTACT INFORMATION
Main Line: 617-266-7900
Fax: 617-353-8300
Scene Shop Fax: 617-358-2575
Box Office: 617-266-0800
Boston University Police: 617-353-2121
Boston Fire, Police, Ambulance: 911
LOCATIONS
252 Huntington Ave. – Paint Department
254 Huntington Ave. – Rehearsal Hall, Stage Management, Company Management
258 Huntington Ave. – Scenery, Properties, and Sound Departments
264 Huntington Ave. – BU Theatre, Production Offices, Costume and Lighting Depts.
281 Huntington Ave. – Administration
527 Tremont Street – The Calderwood Pavilion at the Boston Center for the Arts: the
Virginia Wimberly Theatre and the Nancy and Edward Roberts Studio Theatre.
MAILING ADDRESS
Administration, Production Facilities, Box Office and BU Theatre:
Huntington Theatre Company
264 Huntington Avenue
Boston, MA 02115
Calderwood Pavilion at the Boston Center for the Arts:
Huntington Theatre Company
527 Tremont St
Boston, MA 02116
Ask for Fed Ex or UPS accounts
BUSINESS HOURS
Monday – Friday, 9am-5pm
During this time there is someone at the main switchboard, after 5pm all calls are
handled by the voicemail system.
WEBSITE and INTERNET RESOURCES
Institutional information is available on our website: www.huntingtontheatre.org
Up-to-date ground plans, sections, stock inventories and more available at:
www.bu.edu/scenery
DropBox available for file sharing
PicassaWeb available for photo sharing
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QUICK CONTACTS
*Please note: Huntington Ave numbers are 617-273-1xxx. Calderwood Pavilion numbers are 617-93386xx.
PRODUCTION OFFICE
Production Manager
Assoc Production Manager
Todd Williams
Bethany Ford
1650
1602
Dan Ramirez
Adam Godbout
Dan Oleksy
1583
[email protected]
1566
[email protected]
1587
[email protected]
617-358-2575
PROPERTIES
Prop Master
Props Assistant
Kristine Holmes
Justin Seward
1586
1569
[email protected]
[email protected]
COSTUMES
Costume Director
Asst Costume Director
Nancy Brennan
Virginia Emerson
1648
1647
[email protected]
[email protected]
PAINTS
Charge Scenic Artist
Assistant Charge Artist
Kristin Krause
Kate Bosch
1541
1542
[email protected]
[email protected]
SCENERY
Technical Director
Assoc Technical Director
Asst Technical Director
Scene Shop Fax
[email protected]
[email protected]
ELECTRICS
Master Electrician
Kat Herzig
1644
[email protected]
Asst Master Electrician
Michael Wellman 1643
[email protected]
Pav House Electrician Mercedes Roman-Manson *8615 [email protected]
SOUND
Sound Supervisor
Sound Engineer
Pavilion House Sound Op
Ben Emerson
J Jumbelic
Jesse McKenzie
STAGE MANAGEMENT
BUT Stage Management
BUT Asst. Stage Manager
Pavilion Stage Management Office
Stage Manager Hotline – Voicemail ONLY
1572
1641
*8615
[email protected]
[email protected]
[email protected]
1606
1544
*8658
VM1020
MANAGEMENT
Managing Director
Asst to the Managing Dir
General Manager
Assoc General Manager
Company Manager
Michael Maso
1526
Allison McDonough 1530
Sondra Katz
1527
Justin Haslett
1501
Anna Kohansky
1545
ARTISTIC
Artistic Director
Asst to the Aristic Director
Producing Director
Associate Producer
Peter DuBois
Vicki Schairer
Christopher Wigle
Bevin O’Gara
1529
1531
1521
1528
[email protected]
[email protected]
[email protected]
[email protected]
MARKETING
Director of Marketing
Communications Manager
Temple Gill
Rebecca Curtiss
1560
1537
[email protected]
[email protected]
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[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
PRODUCTION DEPARTMENT INFORMATION
DESIGN DEADLINE DEFINITIONS:
Timely design information and regular communication help us to provide high quality
work at a smooth pace. Deadlines are set in order to allow us time to thoughtfully
review a project, make revisions as necessary, provide you with samples, give us time
to purchase materials, and allow us to complete your project without expensive
overtime. Better planning allows us to maximize our budgets, and the time our staff is
available to work on any given project.
Production Design
Meeting #1 – Designers are
required to meet with the
director, other designers,
production manager, and
Huntington artistic and
production staff for an early
production design meeting.
Ideally this meeting will take
place in Boston as we feel
there is nothing more valuable
than a face-to-face meeting to
get a project rolling. We’ll
schedule this meeting as early
in the season as possible, as soon as the artistic team is assembled and we can find a
date. The meeting agenda is to discuss concept, schedules and budgets, to visit our
theatres and shops, and to encourage open collaboration.
God of
Carnage
2012
Prelims – (or bids) We look for sufficient information here to allow for a realistic
estimate of expenses and outline a construction plan. As soon as preliminary designs
are ready we can advise on the physical and financial viability of the design. If we are
on target for the show budget, we can proceed to final designs quickly. If the
estimates exceed the budget, possible cost saving areas are discussed with all parties,
and adjustments are made. Prelims are best presented in a meeting between the
designer and shop staff.
Scenery requires a ½” ground plan, scene breakdowns, and/or shift plot, section,
elevations, details, molding and soft goods selections (including preferred supplier
and catalog pages and numbers), research, and a white model. For Paints, please
submit research, a written description of style and concept, and your thoughts on
color, finish sheen and texture/dimensionality. Color elevations for soft goods should
be provided at this time to avoid schedule problems later. We require Props research,
including furniture and dressing, a prelim props list, and Prelim drawings for any
built props items.
4
For lighting and sound designers, we are looking for a list of line sets you are planning
to use, additional equipment rental requirements, set mount or practical information,
special rigging requirements or customized set pieces. Anything that could be
considered out of the ordinary and require additional labor or materials expense. We
would also expect any rehearsal music or sound cues to be provided at this time since
this deadline generally occurs during our first week of rehearsal.
The costume designer and the costume director will discuss the scope of the
production, and determine the number of costumes that can be built, rented or
contracted out. Costume sketches, rough costume plot, and hair and wig information
are also due. Research information is very important to include at this time.
Again, the more available information (i.e. research, drawings, and prop/pieces lists),
the more accurately the show can be bid, thus making the most of the budget.
You may be using your own staff to assist you. Too many times, sadly, an assistant has
given us notes or information that has not been what the designer wanted. We rely on
the information you and your employees provide us and count on you to make sure
your employees accurately represent your vision.
Approvals (Scenery/Props/Paints only) - is intended to be the theatre’s sign off
on the design in terms of budget and feasibility, as well as approval from our Artistic
leadership. The Theatre may request changes for any number of reasons including
budget, engineering issues, sightline concerns, etc. We will work together with our
designers during this period and find a way to implement the Artistic Team’s vision
within our given resources.
Finals – A formal bid is completed at this time, and any outstanding design or
financial issue should be resolved before construction/prep begins. We rely on all
designers and directors to communicate regularly with their colleagues. We expect
that the final designs you submit to us will have appropriately incorporated input
from the director and your fellow designers. Any changes or additions after this point
may require additional approval.
SCENERY/PROPS/PAINTS: All final scenery drafting and elevations are due,
including the painted model. All properties design decisions, fabric and furniture
choices should be made by this deadline. The designer should coordinate with the
scenery, props, and paint shop to arrange up to 2 visits during the build period to give
sample approvals, deliver any additional elevations and information, and to provide
input during the build and paint process. One of these visits is often combined with 1st
rehearsal day.
5
Please discuss with the Technical Director, Charge Scenic Artist, and Props Master
specifically what information they need. These requirements will be based on the
presentation of preliminary designs and work done during the approvals process. If
not required earlier, all material choices are due with finals to allow enough time for
the purchase of goods, specialty products, moldings, soft goods and fire sample
testing.
LIGHTING: Final lights plot and complete hookup is due. Specific drawings usually
include a 1/2" light plot including onstage electrics, front of house and any booms or
set mounts you might require and a section with all electrics at their trim. Light plots
can be in Auto Cad, Vector Works, or can be hand drafted. We prefer your paperwork
be in Light Wright, as that is what we use to maintain and manage your design.
SOUND: We require any functional and/or schematic diagrams deemed necessary by
the Designer and the Sound Supervisor for the installation of the equipment.
Playback cue information should also be available, whenever possible, so that
preprogramming can commence.
Additional equipment may be rented as needed within the budget discussed at
prelims. The designer should prepare the bid and vendor list in conjunction with the
Sound Supervisor. The Designer is responsible for final equipment tests at the rental
shop where necessary.
COSTUMES: A complete set of design renderings with fabric swatches, costume plot
and piece list is due at this time.
Production Design Meeting #2 – We will hold a
second production design meeting 4-6 weeks prior to
the beginning of rehearsals with the full artistic team
and Huntington staff on site in Boston. Final Scenic
designs have usually been submitted by this time,
while Costumes, Lights and Sound are closer to their
finals. This is an opportunity to have a more in depth
talk through of the show and share the details of the
design with your colleagues and our staff. We usually
talk through the show from start to finish to get an
idea of how it will all work together. This meeting
provides an opportunity to eliminate those first
rehearsal week surprises by examining the show in
detail together and addressing any outstanding
issues. These meetings tend to run about four hours.
Costume Spec – The costume designer meets with
all of the costume shop staff, usually a week before
rehearsals begin, to discuss the concept and look of
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Sons of the Prophet
2011
the production and to spec each costume. Designer must bring any additional
research necessary to begin the draping process.
First Rehearsal – It is ideal for all of the designers to join us for the first rehearsal.
If available, this allows for a design presentation to the acting company, participation
in read-through and table work, and shop visits to check in on construction progress.
We may also hold a full production meeting, with a separate meeting following to
review props with the set designer and director.
PRODUCTION MEETINGS
Regular production staff meetings are held on Tuesdays at 10AM, barring a change in
schedule, in addition to our Production Design and 1st Rehearsal Meetings. Usually
present are HTC Production Department Heads, Stage Management, the General
Manager, the Producing Director and the Production Manger. You can also call in to
the meetings if you are not able to be in Boston.
These weekly meetings are held in the conference room at our Administrative offices.
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FIRE RULES AND REGULATIONS
The 39
Boston enjoys strict regulation and enforcement of
Steps
Fire Safety Codes. The Fire Department performs
2007
regular quarterly inspections of the facility and
performs spot checks occasionally. How does this
effect production design?
• All Scenic Materials must be flame retardant.
All scenery is back painted, and drops, drapery,
curtains, upholstery fabric, and carpeting must
have certifications or be submitted to the Fire
Department for testing. Materials must be in
house at least three weeks prior to First
Preview so that all permits can be processed.
These costs are part of the materials budget
provided for each production.
• Live Flame (candles, lamps, lanterns) can pose
a safety threat and require special permits. We
encourage the use of battery operated effects
whenever possible.
• Cigarettes, cigars, and other smoking material
are allowed but strongly discouraged.
• We follow the rules regarding smoke and haze use as determined by the
LORT/AEA agreement, per provided time distance calculations. Onsite testing is
cost prohibitive. Smoke and Haze effects are rarely allowed at the Calderwood
Pavilion due to the presence of particulate sensors.
• We cannot break the fire curtain line with scenery. Occasionally we can
accommodate small differences in level by providing a skirt on the fire curtain.
Please speak with the Production Manager or Technical Director regarding your
specific needs.
• Sufficient aisle clearances must be maintained in the theatre. If you are planning
an extension, please ask us what sizes and shapes works well in our theatres. We
generally do not like to remove theatre seating, but exceptions can be made with
advance warning.
• Use of pyrotechnics is discouraged, as cost is most prohibitive. We are required to
have a licensed pyrotechnician (of which there are less than 10 in the state) and a
fire detail officer present at all performances for fx as simple as flash paper or a
sparkler.
HAZARDOUS MATERIALS
The Huntington will not use toxic materials, dyes, organic solvents and other
dangerous substances when less hazardous options are available. The health and
welfare of our staff is very important to us! Ventilation is minimal in our facilities
therefore spray paints, lacquers, and other caustic processes are used with caution.
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SCENERY / PAINTS / PROPERTIES
Personnel
The scenic staff consists of the Technical Director, Associate TD, Assistant
TD/Procurer, Shop
Foreman, Master
God of
Carpenter, Scenery
Carnage
Mechanic, Stage
2012
Carpenter, Pavilion House
Carpenter, and three
scenic carpenters.
Bus Stop
Paint Staff consists of the
Charge Scenic Artist,
Assistant Charge Artist
and a Scenic Artist.
The prop shop staff
consists of a full time Prop
Master, a full time Assistant, and a props run-crew position. The strengths of this
shop are thrift and problem solving. We are able to build a large variety of styles of
furniture and have skills for upholstery as well. Given a reasonable amount of
incoming information, we can stretch the prop dollar pretty far. We are fairly
accomplished in Photoshop. We share photos of research and shopping on Picassa
Web. We are proficient in upholstery and draping, woodworking, plastics, resins and
foam carving.
Additional freelance labor, including BU design and production students, are hired
depending on the requirements of the production and budget. There is a wide range
of talent and skills available in the local labor pool.
Schedule
Build begins 5-6 weeks prior to load-in. Final Drawings are due approximately 3
weeks prior to build start, with prelims due several weeks prior to finals.
The scene, paint, and prop shops are all shared facilities with Boston University, who
construct their productions and teach production and design classes here. There are
7-9 student productions which use the facilities in some capacity during the academic
year, in addition to the 7 productions constructed by the Huntington.
The scene shop workday is generally 7:30 AM to 4:30 PM, with lunch from 12-12:45
PM Monday through Friday. The University productions generally build 4:30PM to
10:30PM and on weekends. Summer Hours vary.
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Paint Shop hours are generally 7:30AM to 4:00PM, with lunch from 12:30-1:15 PM
Monday through Friday. Whenever possible, any soft goods such as drops, portals or
painted masking are created first, to make use of rehearsal spaces and time prior to
constructed scenery arrivals.
The prop shop is open from 9 AM to 5:00 PM with lunch from 12:00-1:00 PM
Monday through Friday. Properties staff are on duty during tech week from 9AM
through the end of rehearsal.
Our goal is to provide fully functioning scenery by 1st tech and complete the majority
of cosmetic notes by 1st preview. During tech week the AM onstage work call hours are
a combined notes session with scenery, props, paints, lighting and sound. Schedules
and priorities are discussed at the previous night’s post rehearsal production meeting.
No work calls are typically scheduled over preview weekend(s), and the scenery, paint
and props shops are closed. Staff will be on call in if needed. Notes from the weekend
are completed during the day on Monday AEA day off. The stage run-crew can handle
minor notes and repairs.
Private Lives
2012
Materials Budget
Scenic – Materials budget
includes all materials costs,
expendables, shipping,
rentals and any outsourced
engineering or construction.
Prices in Boston are
comparable or less than in
NYC.
Paints – Materials budget
includes all paint, supplies,
research, samples,
flameproofing and any other
production related expenses.
Props – Materials budget includes all supplies, rental, shipping, travel, and all
production related expenses. Locally, Art Deco and Nouveau are rather expensive and
hard to find. We tend to build a lot of this style. Greenery and fabric are priced
competitively with the rest of the country.
Labor Budget
The labor budgets for the scenery, props and paints departments pay for staff
overtime, casual and outsourced labor for builds, load-in, tech, and strike.
10
Props Inventory
Huntington stores a number of items on the premises. We’ve a nice chair selection
and growing table stock. Locally, a fair amount of Federal, Victorian, and Early
American is available. We have very little in the way of modern furniture. Several
stores featuring modern furniture have been willing to rent floor models at reasonable
rates. Through a reciprocal agreement between A.R.T., North Shore, Boston Lyric
Opera, Long Wharf, and Trinity Rep, there are quite a number of items at your
disposal. We’ve plenty of rustic items in house and some Louis XIV. A picture prop
inventory is available for most items we have in stock. We try to update this inventory
regularly.
Equipment and Materials
Lumber and steel are purchased in bulk and kept in stock. All standard hardware is
on hand. Specialty hardware and architectural detail are available locally.
The following is a brief list of preferred vendors:
• Molding: Brosco (a catalog can be provided upon request) & Outwater Plastics
• Soft Goods: Rosebrand
• Specialty Hardware: Outwater Plastics, Van Dykes, McMaster Carr, and
Home Depot
Once again, please remember to keep in mind that molding, hardware, soft goods and
specialty orders can take up to three weeks to receive.
We have the capacity to fabricate in wood, steel, and aluminum using standard
industry building practices. Foam and fiberglass work is also possible. We prefer to
use 1/4" LEXAN for all window glazing.
We own a stock raked deck with a 5/8” per foot rise.
The Huntington has in stock both fixed and swivel 3 ¼” height casters, which work
nicely on a 6” tall wagon. We also have some airlift and triple swivel casters in stock.
Our motion control system allows for up to 11 axes of movement using 10 electric
winches, and one hydraulic pump. Additional winches and control can be had, but
only through the rental of additional equipment, which comes out of the materials
budget.
We own automation equipment for a turntable – the deck of which must be
constructed for each production. It fits in a 9” minimum deck which must be taken
into considerations for sightlines.
Circle Mirror
11
LIGHTING
Personnel
The Electrics staff consists of the Master Electrician, Asst ME/Board op and a lighting
intern. The Huntington Theatre Company will also provide a Lighting Design
Assistant from the BU Theatre Lighting Design program. This is an Internship
program to allow the University students to work in a professional setting. Please use
this assistant as much as you need to. They are a good resource as they are usually
familiar with our staff and operations. The electricians are a mixture of BU Lighting
Design students and local area freelance labor.
Schedule
The Electrics Department workday is generally
from 10:00 AM to 6:00 PM, with lunch from 1-2
PM, Monday through Friday. The Electrics
department does not work on the Monday AEA
day off during tech and previews. Electrics
department shares the AM onstage work call
hours with the scene shop, paints, and props.
Schedules and priorities are discussed at the
previous night’s post rehearsal meeting.
Captors
2011
Lighting Systems
Our Lighting Systems are ETC dimmers and
Obsession II control consoles, with a Source 4
based inventory. Please see appendices for
inventory and systems description in the
appendices. Rental budgets are minimal.
All My Sons
Focus
We focus from ladders, focus tracks, scaffold and
Genie Lift depending on which space we’re in. The Genie lift can NOT be moved with
the basket up, and ALL 4 out-riggers must be used at all times. We usually have 7
electricians on for a focus call. One will run the light board and you will have one
runner and 5 electricians to focus. We will focus as many different positions at a time
as you would like. Please let us know if you have special requirement for focus and we
will try to accommodate them.
Materials Budget: This budget includes all materials costs, expendables, shipping,
rentals and any outsourced engineering or construction. We maintain large
inventories of templates, and cut and sheet color on site. Copies of the templates
inventories are available upon request. Prices in Boston are comparable or less than
NYC.
12
Labor Budget: The labor budget pays for staff overtime, as well as casual labor for
prep, load-in, tech, run maintenance beyond show calls and strike. We pay $12-$20
per hour for labor as needed.
Smoke and Fog Effects
As per Current Equity contracts we are required to monitor and control the amount of
the different types of smokes, Fog, and Hazes used. We use the AEA Time/Distance
tables to set our exposure limits. Fog and smoke effects, as well as open flame and
pyro are classified as special effects and require permits.
Practicals
Most practical lighting fixtures, chandeliers, wall sconces, and table lamps are
acquired and hung by the properties department in conjunction with the scenic
designer. The electrics department then electrifies these fixtures.
SOUND
Personnel
Our staff consists of a Sound
Supervisor, a Sound
Engineer and an intern. The
Sound Supervisor works
with the Designer to be sure
all needs are met, and will
assist the process as
necessary during technical
rehearsals. The Sound
Engineer runs and
maintains the show,
performs all programming
duties, and helps supervise
casual labor as necessary.
Ma Rainey’s Black Bottom
2012
All assist with load-in.
The Huntington Theatre Company will also provide a Design Assistant from the BU
Theatre Sound Design program. This is an Internship program to allow the
University students to work in a professional setting. Please use this assistant as
much as you need to. They are a good resource as they are very familiar with our staff
and operations. Additional labor is a mixture of BU Sound Design students and local
area freelance labor.
Schedule
The regular daily schedule is 9AM –5 PM, Monday through Friday. Load-in and tech
schedules are arranged to best suit the needs of the production. The Sound
department does not work on the Monday AEA day off during tech and previews.
13
Equipment load-in is approximately one week prior to 1st Tech. “Quiet time” can be
scheduled in advance of tech week for level set-up, etc. The department shares the
AM onstage work call hours during tech week with the scene shop, paints, props and
lighting departments. Schedules and priorities are discussed at the previous night’s
post rehearsal meeting.
Budget
Materials: The Materials budget includes equipment rentals, shipping and trucking,
batteries and other expendables. Additional costs may be identified for specific
applications, such as recording studio fees. The Sound Supervisor will assist in
identifying these costs.
Labor: The Labor budget includes staff overtime, casual labor, and any musician or
studio tech labor required.
Inventory
Floor plans and elevations for the auditorium and stage house, and scenic designs (as
they are available) will be provided. A “stock” audio system is usually in use; a system
riser and a complete equipment inventory will be provided.
Production Space
A production studio is available, however time must be shared with student designer
and productions. This space is useable for voiceover or some recording and includes a
sound effect library of about 200 CDs. There is a mixer, monitoring facilities for 4
channel surround, and microphones from the inventory in Appendix A can be used.
Please direct questions about this facility to the Sound Supervisor.
Additional Information
Radio Shack is located about 2 blocks from the Huntington. Some “last minute”
equipment and electronic musical instruments can be rented locally. There are a
number of recording studios in the vicinity. An FM system is in use for assistive
listening and audio description. Architectural modification and rigging (i.e. speaker
cluster hangs) must be approved by the Technical Director and Production Office.
14
COSTUMES
Personnel
The staff consists of
a Costume Director,
Assistant Costume
Director, Costume
Design Assistant, 2
Drapers, First Hand,
Craft Artisan,
Wardrobe
Supervisor, Dresser,
Wig Run, Casual
labor is contracted
as needed per show.
Candide
2011
The craft shop staff
is highly skilled in
dyeing, painting,
distressing, millinery, leatherwork, mask and jewelry making and armor fabrication.
The two staff drapers are expert in men’s and women’s period costuming, modern
dressmaking and some modern men’s wear. Men’s tailored suits are generally
outsourced to tailors. We do not have a wig designer/stylist on staff. This work is
contracted out to various wig masters. Haircuts and colorings are done by local
stylists in their salons. The local casual labor pool is small, consisting mostly of
stitchers of various skill levels, and one or two first hands and drapers. The Boston
University costume students are sometimes available for overhire.
Schedule
The shop works a 40-hour week. Shop hours are from 9 AM – 6 PM, with lunch from
1-2 PM, Monday through Friday.
The Costume Designer is expected to be here on the Monday of the week previous to
the first rehearsal to spec the show, dress/tech week, and two or three times between
those two periods, depending on the fittings and designer information needed to
complete production.
Materials Budget – The materials budget includes:
1. All fabrics, materials, clothing and accessory pieces purchased for the
production
2. Costume rentals
3. Wig rentals
4. Purchased custom made wigs and facial hair for production
5. Hair cuts, color and any other kind of hair processing
6. Shipping
7. Dry Cleaning
15
8. Travel expenses for design assistant and any costume staff for production
purposes
Labor Budget – The labor budget includes staff over time and casual labor.
Build, Buy or Rent?
The number of built costumes depends on the number of costumes in the show and
the period and complexity of design. Each table is given a number of both built
costumes and costumes to be pulled and altered. Generally speaking, a table can
build up to three/four costumes and alter approximately 10 costumes. The
Huntington employs two staff drapers and one first hand per show.
Stock
The costume stock is small, but of a relatively high quality. Most of the costume stock
is late Victorian through 1950’s, with lots of shoes and accessories. There is little preVictorian or modern costume stock. All stock is on site. General shop supplies
consist of the usual sewing notions and tailoring supplies. We have a supply of
draping fabrics, lining, interfacing and fashion fabrics.
Shop Specs
The costume shop has all of the equipment that any good professional shop has –
domestic and industrial sewing machines, a marrow machine, industrial steam irons,
dye and crafts facilities (including a Vulcan dye vat) and a large assortment of dress
forms in many sizes.
Other Information
Boston has fewer shopping
resources than New York,
but is similar in cost. We
purchase a majority of
fabrics and trims used in our
productions in New York.
Ma Rainey’s Black Bottom
2012
Costumes are typically
introduced into the tech
process at first tech for
modern shopped shows or
productions where costume
changes are integral to the
action of the play. For built
shows we generally add
costumes to tech for the 2nd half of the second day. The Artistic team and production
teams should discuss the needs of the show at Production Design meetings.
16
STAGE MANAGEMENT:
This page under construction – stay tuned!
Personnel: Production Assistant(s)
Schedule: Typical rehearsal hours
Budget:
Resources: Computers, Printers, Office Supplies, Spike Tape, First Aid, etc. SM
Handbook
17
TYPICAL TECH WEEK
18
INFORMATION FOR OUR
GUEST ARTISTS
Company Management
If you have any questions about your travel plans, itinerary, or housing, please contact
us.
You will receive information about your stay in Boston directly from Company
Manager Anna Kohansky under separate cover
Anna Kohansky
Office (617) 273-1545
[email protected]
Cell (617)383-7407
WHO WE ARE
Over the past 30 years, the Huntington Theatre Company has developed into Boston’s
leading theatre company. Bringing together superb local and national talent, the
Huntington produces a mix of exciting new works and classics made current.
WHAT WE DO
Create
Each season we create world-class theatre productions for an audience of more than
130,000.
Champion
Whether mentoring playwrights in our Playwriting Fellows program or providing
Boston-based companies with discounted audience services and facilities, we
cultivate, celebrate, and champion theatre as an art form.
Engage
Through our nationally recognized education and community programs, we bring
theatre to youth and underserved audiences throughout Boston.
Celebrate
During our 30th anniversary season- and every season – our productions celebrate our
city, our commitment to both entertain and provoke, and the joyous, transformative
power of theatre.
20
About the Huntington Theatre Company
The Huntington Theatre Company, led by Artistic Director Peter DuBois and
Managing Director Michael Maso, is Boston’s largest and most popular theatre
company. In residence at and in partnership with Boston University, the Huntington
is renowned for presenting seven outstanding productions each season, created by
world-class artists and the most promising emerging talent, and reaching an annual
audience of over 130,000. The Huntington has transferred over a dozen shows to
Broadway, more than any other theatre in Boston, including the Broadway hit and
Tony Award-winner Alfred Hitchcock’s The 39 Steps.
In 2004, the Huntington opened the state-of-the-art Stanford Calderwood Pavilion at
the Boston Center for the Arts, which includes 370-seat and 200-seat theatres to
support the company’s new works activities and to complement the company’s 890seat, Broadway-style main stage, the Boston University Theatre. By operating the
Calderwood Pavilion at the BCA, the Huntington provides first-class facilities and
audience services at significantly subsidized rates to dozens of Boston’s most exciting
small and mid-sized theatre companies. The Huntington also operates
BostonTheatreScene.com, which provides all productions at the BCA or the B.U.
Theatre with box office and online marketing services.
The Huntington is a national leader in the development and support of new plays,
producing more than 50 New England, American, or world premieres in its 27-year
history. The Huntington’s nationally-recognized education programs have served
more than 250,000 middle school and high school students in individual and group
settings and community programs bring theatre to the Deaf and blind communities,
the elderly, and other underserved populations in the Greater Boston area.
21
History of the Boston University Theatre
Boston University Theatre Exterior
Designed and constructed as America's
first civic playhouse, the building today
known as the Boston University
Theatre was the first tax-exempt
theatre established in the nation.
Construction having begun in 1923, it
was formally opened with Sheridan's
The Rivals on November 10, 1925. The
architect was J. Williams Beal Sons.
Originally named the Repertory
Theatre of Boston, the theatre was built
to be a permanent home for the Henry Jewett Players, a Boston-based repertory
theatre company. In choosing to locate the theatre across from Symphony Hall and
near the Museum of Fine Arts and the old Boston Opera House, the theatre's creators
intended to signify its character as a major cultural institution of Boston and its
difference from the commercial playhouses in the Boylston/Washington/Tremont
streets area of the city.
Henry Jewett, a native of Australia, whose portrait as Macbeth hangs today in the
main stairwell leading to the theatre's balcony, was a distinguished actor and director.
Born in 1862, he moved to the United States around the turn of the century and
became the leading man for Julia Marlowe. He settled in Boston shortly after 1900
and organized the Henry Jewett Players. The Jewett Company first offered
Shakespeare productions at the Boston Opera House; in 1916 it moved to the Copley
Theatre where it performed until the early 1920s.
But Jewett's ambition was to have a permanent home for his company, and he and his
wife Frances vigorously pressed for a facility built by the community. In 1923, the
Jewett Repertory Fund was started; many prominent Bostonians, including Calvin
Coolidge and A. Lawrence Lowell, president of Harvard University, were on the roster
of sponsors. Almost immediately from its opening the Repertory Theater was beset
by difficulties. There was much theatrical competition, and soon an even more serious
problem was posed by the advent of talking movies, which lured audiences from all
types of live entertainment. In 1930, Mr. Jewett's company disbanded. Jewett himself
died in the same year. As the theatre was being closed, Jewett's widow remarked
prophetically: "You can't have a repertory theatre without subsidy -- lots of subsidy."
The prescience of this view was proven thirty years later in the 1960s as the American
regional theatre movement became increasingly significant and revived the pattern of
resident theatre companies.
During the 1930s and 1940s, the theatre was known as the Esquire Theatre and was
mainly used as a movie house. The Esquire specialized in art films, and it was here
that Boston audiences first saw Laurence Olivier's Henry V. During these same years,
22
the theatre occasionally reverted to its original purpose, as in 1941 when Louis
Calhern and Dorothy Gish played in Life with Father.
In October 1953, Boston University purchased the facility, and the vision that had
initially created the theatre again began to be realized. The School of Theatre at
Boston University's College of Fine Arts has now used the theatre as its primary
facility for performance, design, and technical production for five decades. The
theatre arts program presented its first production, Nicholas Evreinoff's The Chief
Thing, in December 1954. Its students and faculty annually present approximately
seven productions in the theatre's main auditorium and in the upstairs space, now
called Studio 210, which was originally the Repertory Theatre's ballroom.
In 1972-74, the theatre was extensively restored and modernized. Generous funding
was contributed by the Shubert Foundation, Inc., the Committee of the Permanent
Charity Fund, the John A. McCarthy Foundation, and the Trustees of Boston
University. This refurbishing included a new stage lighting system, air-conditioning,
exterior and interior painting and the replacement of all carpets and seats. Beginning
in the late 1970s, the University opened the theatre to limited engagements by outside
professional performing arts organizations. Such groups as the Twyla Tharp Dance
Foundation, the Boston University Celebrity Series, the Opera Company of Boston,
and the Theatre Company of Boston used the building successfully and reminded
Bostonians of the existence of a resource that many had forgotten and many others
had never known about.
Between 1978 and 1981, the University, moving toward creating a major drama center
serving New England, with the goal of developing a superior performance home for a
university-affiliated theatre company that could link professional production and
school training, purchased the two adjoining buildings -- the Junior Achievement
Building (formerly the Old France Restaurant) and the Symphony Cinema. These
structures were renovated into a production center for the theatre and rehearsal and
administrative space. Further improvement and the equipping of the main
performance space, including
renovation of the scenery flying
system, were also realized at this time.
In 1981-82, the Huntington Theatre
Company was founded. The
Huntington opened on October 23,
1982, with Tom Stoppard's Night and
Day. It now presents four major
productions per season as the
Boston University
professional theatre in residence at
Theatre Interior
Boston University, as well as three
productions at the Virginia Wimberly
Theatre at the Boston Center for the Arts, and also serves to complement the training
experience offered by the College of Fine Arts. Thus, the Boston University Theatre is
at last playing its destined leading role in the cultural life of Boston.
23
Becky
Sh
About the Calderwood Pavilion
The Calderwood Pavilion, a partnership between the Huntington Theatre Company
and the Boston Center for the arts (BCA), and constructed in 2004, was the first new
theatre building built in Boston in 75 years. The Pavilion houses two stages (the 370seat Virginia Wimberly Theatre and the 209-seat Nancy and Edward Roberts Studio
Theatre), rehearsal halls, and state-of-the-art backstage facilities.
In addition to providing a second stage for the Huntington, the Calderwood Pavilion
provides an intimate space for new play development initiatives and a home for
Boston’s finest small theatre companies. Audiences have the opportunity to get closer
to the essence of theatre—both physically closer in these more intimate spaces and
emotionally closer to the adventure of discovering new voices and emerging artists.
The Huntington’s new play initiative provides
material with which to program the new
theatre spaces. Since the arrival of Artistic
Director Nicholas Martin in 2000, the
Huntington has increased its efforts to develop
and commission new work. In 2001, the
Huntington introduced Breaking Ground, a
new play reading series, which was expanded
into a festival format in March 2004. In
January 2002, the Huntington established the
Stanford Calderwood Fund for New American
Plays, providing money to commission new
works. In the fall of 2003, the Huntington
announced the commissioning of the
Huntington Playwriting Fellows, a group of
Boston-based writers who are working closely
with the Huntington’s artistic staff and each
other while developing their work.
24
Outreach and Special Programs
MARKETING / PUBLIC RELATIONS DEPARTMENT
Requests for interviews will come to you directly from Rebecca Curtiss,
Communications Manager, after she has consulted the Stage or Company Manager
about the rehearsal schedule. Promotional appearance requests may come from
Rebecca or from Audience Development Coordinator Adam Roberts. If you have any
interview/appearance issues that we should know about (for example, you really hate
doing them at all, or not in the mornings, only if there is food involved etc.) or any
ideas, please talk to your Stage Manager or feel free to reach out Rebecca directly
([email protected]) 617 273-1537). If the interview or appearance
is off-site, you will be provided with transportation or reimbursement.
The Huntington is committed to using social media, viral means, and video to
promote our productions. We are committed to representing our artists in the most
positive light, and will always edit images and interviews to do so. We hope that you
will participate when asked in order to help us spread the word about your show.
When a television crew comes to the theatre for an interview and/or shooting
segment, we will give you at least 24 hours notice whenever possible, depending on
the television station giving us notice. Someone from the Huntington staff will
always accompany TV crews in the theatre. Stations will only shoot and air footage
according to Equity rules and regulations.
Production photo call will generally be on the day of final dress rehearsal – specific
time to be announced. Photos from this call will be available to the company.
Our policy is to not post reviews. However, we can send you a review packet once the
show has closed by request.
Student Matinees: The Huntington's core educational program introduces more
than 12,000 students to professional theatre each season. Morning performances of
each production are scheduled for middle and high school groups at a nominal charge
of $10 per student, the amount covered by Massachusetts Cultural Council PASS
funds. The Huntington also provides pre-show visits to classrooms as well as
extensive study and curriculum guides to every teacher prior to their matinee visit.
Teachers may elect to bring their classes to a pre-show talk and tour of the theatre.
School groups are also invited to join the cast for post-matinee discussions.
Actors Forum: Did you ever want to ask an actor how he prepares for a role? Now
you can, by attending Actors Forum, a post-show discussion featuring cast members
from each show. Actors forum discussions follow select Thursday evening and
Wednesday matinee performance.
Humanities Forum: Featuring a leading scholar from one of Boston’s many
educational institutions, each forum consists of a 20-minute talk on the literary and
historical context of the current play, followed by a question-and-answer session with
the audience. These discussions follow select Sunday Matinee performances.
25
ASL Interpreted: The Huntington Theatre Company offers ASL interpretation for
the Deaf and hard of hearing at designated performances. The Huntington works with
a Deaf task force to raise the artistic level of ASL-interpreted performances through
workshops and other services. The Huntington's programs for the Deaf have served as
a model statewide. We have consulted with such theatres as American Repertory in
Cambridge, Foothills Theatre in Worcester, New Repertory Theatre in Newton,
Trinity Repertory Company in Providence and the Wang Performing Arts Center.
Audio Described: Audio Description is a carefully timed, live narration of the visual
aspects of a performance. It is broadcast via a radio transmitter to patrons who wear a
single headphone receive enabling them to hear both the on-stage dialogue and the
describer's narration.
Out and About Night: Out & About Club, for the gay, lesbian, bisexual, and
transgendered community, offers theatergoers the opportunity to mingle with each
other at a pre-or post-show reception, get a behind-the-scenes peek, and meet the
actors and artists from the production.
35 Below: In an effort to reach out to and retain our audience that is 35 years or
younger, the Huntington hosts a few nights every season where we specifically invite
our 35 Below crowd to come to a performance and stay after for a 35 Below Wrap
Party. The wrap parties have free booze, food and a live band. Tickets for patrons
who are 35 and under cost only $25, but they get so much more than a performance
when they come on a wrap party night.
26
Service Pledge
August 2011
We have adopted an institutional service pledge that outlines how we expect to treat
and be treated by those we interact with, including our co-workers and guest artists.
We welcome your feedback on how we are doing.
At the Huntington Theatre Company, we believe that people are our greatest assets.
We are committed to providing courteous, responsive, and quality service to everyone
with whom we interact.
We vow to make the customer our top priority, and believe that how we treat a person
is of utmost importance.
Who do we serve?
Ticket buyers, donors, Calderwood Pavilion clients, community partners,
education partners, and our co-workers and colleagues at the Huntington
Theatre Company.
Our Service Values:
• We respect all people and treat them with the dignity they deserve.
•
We believe all everyone deserves efficient service from knowledgeable staff.
•
We will be honest and straightforward.
•
We will listen and respond to an individual’s needs, ideas, and concerns with
fairness and flexibility.
•
We will impress everyone with the quality and timeliness of our services in a
pleasant and friendly manner.
•
We will challenge ourselves to make a consistent effort each day to take the
time and care needed to help people.
•
We will aim to exceed expectations and strive to earn the right to have
everyone speak highly of us.
27
SAFETY COMMITTEE
The Huntington Theatre Company operates a working staff Safety Committee and is
committed to creating and maintaining a safe environment for our employees and
constituents.
Composition
The membership of the committee shall include: one member from each of the six production
areas, one student, one faculty member, one front of house staff member, one company
management member, one member of the pavilion staff, one member of the box office staff,
one member from the administrative staff, and one member of the professional internship
program.
Advisors shall be the Production Manager, the Director of Human Resources; and one
representative of Boston University’s Office of Environmental Health and Safety.
Philosophy
• We (the Huntington Theatre Company and Boston University School of Theatre) are
committed to creating and maintaining safe, secure workplaces and educational
environments.
• We are committed to supporting and adhering to the Statement of Commitment (as
outlined below).
• We are committed to providing safe and secure environments for our patrons,
including the ongoing development of emergency preparedness procedures and
attention to building safety issues.
• We are committed to creating safety and security policies and procedures and are
likewise committed to enforcing them.
• We are committed to training personnel and students in basic emergency procedures,
proper use of tools, machinery and other equipment, proper use and storage of
chemicals and hazardous materials, and other tenants of workplace safety.
• We are committed to perpetuating this philosophy of workplace safety with our
coworkers, interns, students, classmates and patrons.
Statement of Commitment
• The Huntington Theatre Company and Boston University School of Theatre are
committed to the above purpose and philosophy in maintaining healthy and safe
facilities. To this end, members of the Huntington and BU family should:
• Consider possible environmental impact when making decisions, including those
concerning facilities management and construction projects;
• Reuse and recycle materials whenever it makes economic and environmental sense to
do so;
• Limit occupational injuries and illnesses by emphasizing safety education and safe
work practices for employees;
• Recognize and respond to legitimate community concerns about the environmental
and health safety impact of our programs;
• Provide appropriate and timely information in response to questions about
environmental health and safety issues;
• Use energy efficiently;
• Comply with applicable environmental health and safety laws and regulations
28
Huntington Theatre Company
2010 Phone Directory
Revised 05/21/2011
Administration 617-273-7900
HUNT Box Office 617-266-0800
Pav. 2nd Fl Fax 617-424-6896
281 Admin Fax 617-353-8300
HUNT BO Fax 617-421-9674
Scene Shop Fax 617-358-2575
**Please Note: Pavilion numbers are 617-933-xxxx. Huntington Ave numbers are
617-273-xxxx.
Administration
Managing Director
General Manager
Associate General Manager
Assistant to the Managing
Director
Calderwood Pavilion Manager
Calderwood Events
Coordinator
Administrative Assistant
Michael Maso
Sondra Katz
Justin Haslett
Allison
McDonough
Joey Riddle
1530
*8671
[email protected]
[email protected]
[email protected]
[email protected].
du
[email protected]
Katie Most
Sarah Williams
*8653
*8673
[email protected]
[email protected]
1529
1521
1502
1528
1531
1503
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
1545
1600
1601
[email protected]
Artistic
Artistic Director
Peter DuBois
Producing Director
Christopher Wigle
Director of New Work
Lisa Timmel
Associate Producer
Bevin O'Gara
Assistant to the Artistic Director
Vicki Schairer
Literary Associate
Charles Haugland
Company Management
Company Manager
BUT Guest Director
BUT Cast Phone
Pavilion Company
Management
Anna Kohansky
1526
1527
1501
*8654
Human Resources
Director of Human Resources
Lisa Fuller
Human Resources Coordinator Michael Comey
Payroll Coordinator
Kristine Laundry
29
1533
1505
1595
[email protected]
[email protected]
[email protected]
Finance
Director of Financial
Management
Accounting Manager
Accounting Associate
Development
Director of Development
Director of Major Gifts
Director of Institutional Giving
Special Events Manager
Annual Fund Coordinator
Development Associate
Education
Director of Education
Education Department
Manager
Education Associate
Education and Community
Associate
Marketing
Director of Marketing
Marketing Manager
Communications Manager
Web and New Media
Manager
Audience Development
Coordinator
Community Coordinator
Marketing Associate
Box Office
Audience Services Manager
Tessitura & Business App Mgt
Associate Audience Services
Mgr
Subscription Coordinator
Subscription Associate
Pavilion Box Office Coordinator
Glenda Fishman
June Zaidan
Laura Casavant
1534
1532
1509
[email protected]
[email protected]
[email protected]
OPEN
Meg White
Mary O'Donnell
Shaine Belli
Lisa McColgan
Alli EngelsmaMosser
1547
1596
1579
1536
1546
[email protected]
[email protected]
[email protected]
[email protected]
Donna Glick
1548
[email protected]
Meg Wieder
1558
[email protected]
Marisa Jones
1549
[email protected]
Naheem Garcia
1564
[email protected]
Temple Gill
Meredith
Mastroianni
Rebecca Curtiss
1560
1580
1537
[email protected]
[email protected]
du
[email protected]
Thom Dunn
Adam Roberts
1512
[email protected]
1525
[email protected]
1522
Candelaria-Silva
Collins
Desiree Pedrami
VM1626
1518
[email protected]
[email protected]
Jon Slater
Bridget Frey
1657
1658
[email protected]
[email protected]
Derrick Martin
Hailey Fuqua
Cheyenne Postell
1670
1671
[email protected]
[email protected]
[email protected]
*8601/167
7
Katie Catano
30
[email protected]
BUT Box Office Coordinator
Pav Box Office Associate
Box Office Associate
Full Time Representative
Full Time Representative
Box Office Line
Front of House Management
BUT House Manager
Calderwood Pavilion House
Manager
Casey Beaupre
Patrick Harris
Amy Klesert
Derek Fraser
Ron Amorim
1659
[email protected]
1678
[email protected]
1615/*860
4
[email protected]
1679
[email protected]
1682
[email protected]
2000
Daniel Morris
1666
[email protected]
Kat Alix
*8672
[email protected]
31
Production Office
Production Manager
Associate Production Manager
Todd Williams
Bethany Ford
1650
1602
[email protected]
[email protected]
Scenery
Technical Director
Associate Technical Director
Assistant Technical Director
Scene Shop Foreman
Stage Carpenter
Scenery Mechanic
Master Carpenter
Carpenter
Carpenter
Carpenter
Pavilion House Carpenter
Dan Ramirez
Adam Godbout
Dan Oleksy
OPEN
Dan Walsh
Jesse Washburn
Larry Dersch
Milosz Gassan
Amy Mattulina
Nick Hernon
Paul Mayer
1583
1566
1587
1573
1646
1582
1582
1582
1582
1582
*8615
[email protected]
[email protected]
[email protected]
Props
Props Master
Props Assistant
Props Run
Kristine Holmes
Justin Seward
Andrew Deshazo
1586
1569
1646
[email protected]
[email protected]
[email protected]
Costumes
Costume Director
Assistant Costume Director
Head Draper
Draper
First Hand
Costume Crafts Artisan/Dyer
Costume Design Assistant
Wardrobe Coordinator
Dresser
Nancy Brennan
Virginia Emerson
Anita Canzian
Michelle Ross
Becky Hylton
Denise Wallace
Mary Lauve
Christine Marr
Jeffrey Burrows
1648
1647
1538
1538
1538
1539
1539
1642
1642
[email protected]
[email protected]
[email protected]
Hair and Wig Run
Susie Moncousky
1571
Kristin Krause
Kate Bosch
Sam Pagnotta
1541
1542
1542
[email protected]
[email protected]
Kat Herzig
1644
[email protected]
Paints
Charge Scenic Artist
Assistant Charge Artist
Scenic Artist
Electrics
Master Electrician
32
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
u
Assistant Master Electrician
Michael Wellman
1643
Mercedes RomanManson
*8615
[email protected]
[email protected]
Sound
Sound Supervisor
Ben Emerson
Sound Engineer
J Jumbelic
Pavilion House Sound Operator Jesse McKenzie
1572
1641
*8615
[email protected]
[email protected]
[email protected]
Pavilion House Electrician
33
APPENDIX A
BOSTON UNIVERSITY
THEATRE
GROUND PLAN
36
SEATING CAPACITY
37
STAGE/ROOM DIMENSIONS
37
RIGGING
37
SOFT GOODS INVENTORY
38
LINESET SCHEDULE
46
CONTROL BOOTHS
48
LIGHTING DESCRIPTION
48
LIGHTING INVENTORY
48
SOUND SYSTEM DESCRIPTION
50
SOUND INVENTORY
50
COMMUNICATIONS
52
VIDEO
52
THE BU THEATRE REHEARSAL HALL
52
DRESSING ROOMS AND THE GREEN ROOM
52
35
Ground Plan
36
Seating Capacity
Without Orchestra Pit: 883
With Orchestra Pit: 845
Stage/Room Dimensions
Proscenium Width
Proscenium Height
Stage Depth from Plaster Line
Stage Depth from Apron
35’-5 5/8”
25’-2 3/4”
32’-1”
35’-3 5/8”
Wall to Wall
Center Line to SL wall
Center Line to SR wall
38’-2”
36’-0”
Wing Space
Stage Left
Stage Right
20’-2”
18’-0”
Grid
Floor to gridiron
Distance pipes travel from deck
59’-6”
58’-0”
From Stage Lip
To back of orchestra level
To balcony overhang
To back of balcony level
Rigging
Type
Weight
Linesets
Arbors
House Pipes
49’-11 1/2”
30’-4 5/8”
73’-2 5/8”
Counter weight
14,000 lbs.
42
600-800 lbs.
50’-0” 1.5 schedule 80 pipe
37
38
39
40
41
42
43
44
45
•
46
47
Control Booths
•
The Sound Run Position is in the back of the orchestra seating area, just house right of the center right
aisle.
• The light & followspot is at the rear of the theatre, above the balcony seating.
The stage manager calls from backstage left.
Lighting System Description
The lighting system is an ETC installation performed in 2000. There are 276 @ 2.4kw dimmers, 6 @ 5kw
dimmers. We utilize ETC’s Dimmer Doubling for the Source 4 and Sound 4 Pars. The system is controlled
from an Obsession II duel processor system. Distribution is handled through raceways front of house, 1st
electric and galleries left and right. All of on-stage distribution is from grid to drop boxes.
Lighting Inventory
Conventional Units
# Unit Type
Wattages
Notes
575w 120V
Body Only
320
ETC Source 4
20
Source 4 (10°)
Lens Tube Only
110
Source 4 (19°)
Lens Tube Only
126
Source 4 (26°)
Lens Tube Only
70
Source 4 (36°)
Lens Tube Only
64
Source 4 (50°)
Lens Tube Only
95
S4 PAR w/ full lens set
575w 120V
2
Altman 3 1/2 x 6
500w
6
Selecon 90°
575w 120V
6
Arri 10" Fresnel
5Kw
20
Altman Focusing Cyc
650w
20
T-3 Strip 6 cell 3 ckt
(10) 3 cell yokes
(25) single cell yokes
(36) additional units on
cyc bridge
6
6' 3 Ckt MR16 L&E Mini Strip
5
8' 4 Ckt MR 16 L&E Mini Strip
500w
Flood - EYC 750w
per cir
Flood - EYC 750w
per cir
8
Mini Ten (work lights)
500w, 300w
4
L&E Microfill
150w
3
Par 20 (black)
150w
Par 20 Short Snoot
150w
3
GAM Stik ups
150w
4
3" Fresnel
150w
2
S4 City Theatrical Follow spot Yokes w/Boomerangs for 19
1
Strong Truss Trouper Follow spot (w/short throw lens (catwalk) and long throw (booth))
16
Special Effects:
16
Wybron CXI Color Scrollers (7.5")
16 leko
(w/mounting plates for S4 & S4 Par/Parnel)
16 par
8
Wybron CXI IT Color Scrollers
1
DFX 50 Diffusion Fogger
3
High End Data Flash Strobe
8
Rosco Double Gobo Rotators
4
Rotator Power Supply (DMX)
1
Mirror ball and motor
1
Little Blizzard Snow Machines
Control
1
ETC Obsession II 1500 Dual Processor v. 5.1.0
1 High-End Hog 500 v.3.2build169 w/ key board, track ball, little lites, manual, case
1
Designer Remote Console w/ two Monitors
2
ETC Net II DMX Nodes (one permanently mounted in dimmer vault at DMX patch Bay)
ETC Net II Video Nodes w/two monitors each (one permanently mounted in elex shop test
rack)
2
276
ETC Sensor 20A Dimmers (dimmer per circuit)
6
ETC Sensor 60A Dimmers (dimmer per circuit)
FOH rep plot units are Dimmer Doubled. 77v 550w
180
11
Dimmer Doubler caps (including 100 permanent FOH units)
Little Lights with weighted bases for techtables
Note: These are used by many depts and spaces and not all available,
see ME
49
Sound System Description
1. Speaker systems The sound system in the Boston University Theatre features House Left and
right speakers on the proscenium to cover the orchestra and mezzanine, and on the light bridge for
the balcony. Center speakers to cover all 3 areas, and delayed fill speakers cover under the balcony
overhang. There are two dual 15” subwoofers in a quasi-permanent location, and there are 4 single
18” subwoofers available for additional low end. There are 12 wide dispersion speakers for side and
rear surrounds, and there are a variety of available speakers for onstage use. All speakers are EAW
with the exception of some small speakers available for onstage practicals or front fills. Processing
for crossovers and system tuning are provided through EAW UX8800 processors for the mains and
delays and fixed subs, dbx Drive Rack for the moveable subs, and the LCS Matrix for the surrounds.
2. Main Control System: The system is based around a Level Control Systems’ (LCS) Matrix-3
system featuring 32 analog outputs, 16 analog inputs. A Cue Console system provides faders,
transport, and editing controls. The entire system is networkable through a dedicated Ethernet
infrastructure. An Ethernet line can be set up for the Designer to move soundfiles into the playback
system if desired. Playback is accomplished through SFX 6 or LCS Wild Tracks hard disk playback
systems.
3. Microphones: there is a small inventory of microphones. More information is supplied in the
complete list below. We have 3 Shure UHF-R Wireless systems for 6 channels of wireless Lavalier
mic’s, with a variety of Sennheiser MKE-2, Countryman B3, E6 elements.
4. Mix Position: The Sound Run Position is in the back of the orchestra seating area, just house right of
the center right aisle. This puts the Mix Engineer in the seats that need the most reinforcement on
shows where a live mix is necessary.
Sound Inventory
Front of house systems
Proscenium Center
Balcony Center
Proscenium sides
FOH Subwoofers
Underbalcony
QTY Notes
EAW AX396
3 way, biamplified
QSC RMX1850
HF
QSC RMX5050
LF
EAW AX396
3 way, biamplified
QSC RMX1850
HF
QSC RMX5050
LF
EAW MK2396
2 way, biamplified
QSC CX702
HF
QSC CX1102
LF
EAW SB250 x2
Dual 15"
QSC RMX5050
Ch.1=L, Ch.2=R
EAW UB42 x3
1
1
4
Upper set focused for
Mezzanine, lower for Orch.
2
FOH Subs
3
QSC RMX1850
Ch.1= inner (1)
Ch.2= outer (2)
Balcony L/R
EAW MK2194
2 way full range
QSC MX2000
Ch.1=L, Ch.2=R
50
2
All delay/crossover processing for above: EAW U8800
Surrounds
EAW UB22 x 12
QSC CX404 4 ch. Amp
Orch Side
2
Mezz Side
2
Balc. Side
2
Orch. Rear x2
4
Balc. Rear
2
Delay for surrounds handled at LCS Matrix
Onstage systems
General FX, F.B.
Small FX
Amps for misc. FX
EAW JF-80
8
QSC CX702 for 4 of the JF-80's
2
JBL Control-1
4
E/V S-40
2
QSC MX700
1
Crest Ca2
1
QSC MX1500
1
Crown CE1000
Subs
EAW SB180
4
QSC SB4050
2
DBX driverack 482 used for crossover
Control/Playback
LCS Matrix-3
16 analog inputs
1
32 analog outputs
24 tracks Digital Audio
Cue Console
Faders, Meters, Transport, Editor
SFX 6.2
16 track playback
1
TC Electronics
M3000 reverb unit
1
Microphones
Sennheiser
Audix
Shure
Crown
e604 clamp-on
Toms, Snare
3
e602 dynamic
Kick
1
e614 pencil condenser
Overheads
2
MD421
1
D4
1
D6
1
SM57
4
SM58
4
SM81
4
PCC160
4
GLM100
2
51
Typically for onstage, or
supplement FOH subs
Countryman
Isomax small cardioid
4
AKG
C414
1
C3000
1
C1000
1
C451/CK9 short shotgun
2
misc
2-3 switched dynamics for VOG
Communications
We have a 4 channel Clear-Com system utilizing the SB-440 mainstation. We also have two Telex
BTR-200 wireless mainstations patched into the system to provide wireless headsets for deck crew.
Appendix B
Video
We have both color and black and white front shots from the balcony rail, and an infra-red
illuminator for low light vision in the black and white camera. We have 3 additional cameras and a
variety of 9", 13", and 19" monitors.
The BU Theatre Rehearsal Hall
•
•
•
•
•
The rehearsal hall is located at 254 Huntington Avenue on the second floor. There is no
elevator.
The Rehearsal Hall is 36' wide and 48' long. There is a mirror along one 36' side.
The Stage Management office, with work room for 4, is in the rear of the hall.
There is a loft used for storage on the far wall.
The ladies’ rest room is on the 2nd floor behind the stairs. The men’s room is on the third
floor at the top of the stairs.
Dressing Rooms and the Green Room
•
•
•
•
•
Incense and candles are not allowed backstage, in the dressing rooms, or in the green room.
Dressing Rooms are located one level below the stage. The facilities can comfortably hold
approximately 33 actors. There are 10 dressing rooms that accommodate up to two people
each, 2 dressing rooms that will accommodate up to 4 people and 1 dressing room for five
(that includes a bathroom). Each dressing room is equipped with an individual station,
mirror, lighting and chair, as well as sink (one per room). Each room is also equipped with
an audio stage monitor. There are two bathrooms (separate for men and women) complete
with shower stalls.
Half of the dressing rooms are air-conditioned.
The Green Room is adjoined to the Dressing Room area, also with an audio stage monitor,
complete with a large refrigerator, microwave, and coffee maker. Adjoined to the dressing
room area is the Wardrobe Room.
The Mainstage is one level above the Green Room. From the Green Room there is immediate
access to Stage Right and Left, the trap room, and Orchestra Pit.
52
APPENDIX B
THE VIRGINIA
WIMBERLY THEATRE
GROUND PLAN
55
STAGE DIMENSIONS
56
RIGGING
56
SEATING CAPACITY: APPROXIMATELY 360
57
STAGE SPECIFICATIONS
57
SOFT GOODS INVENTORY
57
CONTROL BOOTHS
57
ORCHESTRA PIT AND TRAPS
57
ADDITIONAL EQUIPMENT
57
LINESET SCHEDULE
58
LIGHTING DESCRIPTION
59
LIGHTING INVENTORY
59
SOUND SYSTEM DESCRIPTION AND INVENTORY
60
COMMUNICATIONS
61
CAROL G DEAN REHEARSAL HALL
61
GREENROOMS
61
DRESSING ROOMS
62
RESTROOMS
62
WARDROBE ROOM
62
LOADING DOCK
62
BUILDING ACCESS AND ALARMS
62
54
Ground Plan
55
Stage Dimensions
31’-113/8
22’-2¼
33’-3”
34’-8”
Proscenium Width
Proscenium Height
Stage Depth from Plaster Line
Stage Depth from Apron
Center Line to SL wall
Center Line to SR wall
Wall to Wall
At plaster line
28’-6”
38’-6”
Wing Space
Stage Left
Stage Right
12’-6”
22’
Grid
Floor to gridiron
Distance pipes travel from deck
29’
28’ approx.
From stage lip
To back of orchestra level
To balcony overhang
To back of balcony level
38’
32’
52’
Rigging
The Wimberly does not have a full fly space. Maximum trim height is 28’, only 6’ above the
proscenium opening.
Type
Weight
Linesets
Arbors
House Pipes
T Bar Manual Counterweight
30,000 lbs. Total
41 linesets on 8” centers
1200 lb. Capacity uniform loading
42’ long
56
Seating Capacity: approximately 360.
Stage Specifications
•
Flooring: ¼” painted Masonite over a
Bio Channel sprung floor system.
•
There is 1 ¼” of wood to screw or lag
into floor. Maximum lag diameter is
3/8”and no drilled holes larger than
¼”are allowed.
The front of the stage is finished with
mahogany veneer paneling. Set into the
paneling there are two continuous uni-strut
reveals running horizontally at approx. 6”
above the orchestra floor and 6” below the
stage floor to which scenery or soft goods may
be attached.
Soft Goods Inventory
6
Borders (25 oz Black Memorable)
6’ H x 46’ W
12
Legs (25 oz Black Memorable)
25’ H x 10’ W
8
Tabs (25 oz Black Memorable)
25’ H x 10’ W
2
Two-Part Traveler (25 oz Black Memorable)
25’ H x 23’ W & 25’H x 25’ W
(Total Width 46’-0”, Track for Traveler is 42 linear feet)
1
Cyclorama (Bleached White Muslin)
27’ H x 46’ W
1
Black Sharkstooth Scrim
27’ H x 46’ W
1
White Sharkstooth Scrim
27’ H x 46’ W
1
Grey RP Screen
27’ H x 46’ W
Control Booths
•
•
•
•
Stage Managers may call their production from positions in the orchestra level booth (the
standard location) or onstage.
Sound is operated only from the orchestra level booth. Live mixing can be located in the box
position in the mezzanine.
Lighting is usually operated from the 3rd floor booth, but can be set up to operate from the
orchestra level booth or backstage.
Follow Spots can be located in the 3rd floor booth.
Orchestra Pit and Traps
The Wimberly Theatre does not have an orchestra pit or any traps on the stage.
Additional Equipment
Additional Equipment may be available. Please see Pavilion management.
57
Lineset Schedule
58
Lighting Description
• Control
o 284 2.4k Dimmers (dimmer per circuit)
o 2 6kw Dimmers (dimmer per circuit)
o ETC Obsession II
o Integrated House/Run/Work light control
Throw from 3rd floor Follow Spot booth to stage lip is 46’.
Lighting Inventory
Quantity
38
63
68
18
40
6
10
20
20
235
19
75
20
395
100
330
150
2
300
6
6
40
10
12
2
8
4
1
1
1
10
284
2
1
Item
Source 4 Leko
Source 4 Leko
Source 4 Leko
Source 4 Leko
Source 4 Par
Lamp
19 Degree GE HPL 575w 120v Long Life
26 Degree GE HPL 575w 120v Long Life
36 Degree GE HPL 575w 120v Long Life
50 Degree GE HPL 575w 120v Long Life
w/vnsp,nsp,mfl,wfl,xwfl
GE HPL 575w 120v Long Life
GE FCZ 500w Frosted 2000hr 120v
L&E
Mini Flood work lights
500T3Q
6' 3cir L&E Mini Strips #6560ALUM
GE EYC 12v 75w
L&E Hanging Irons w/ Mega Clamp Aluminum - Anodized Black
L&E Trunions
C Clamp for S4 and mini Flood
S4 Par Concentric Ring tophat
S4 Leko Top hat
Color Extenders for S4 leko
S4 Leko Color Frames
S4 Par Color Frames
L&E Mini Strip Frames
Temp Holders A Size Sandwich
S4 Iris
Black Safety
50# Boom Bases
Boom Tie Off Caps
12" Side Arms 1T
Black Sandbags 25# Film Style
Wybron CXI Scroller for Leko or Par
24 way power supply
Apollo Smart Move DMX Rotator
2way Apollo Rotator Power Supply DMX
Control
ETC Obsession II 1500 Single
Processor v. 5.1.0 w/ two monitors
Obsession Wireless Remote Focus Unit
ETC NET II Video Node w/ two monitors
ETC Net II 2 Port DMX Nodes
(permanently mounted throughout
theatre)
ETC Sensor 2.4kw Dimmers (dimmer per
circuit)
ETC Sensor 6kw Dimmers (dimmer per
circuit)
6 circuit Cue Light System
59
Sound System Inventory and Description
Speakers:
• EAW MK2194 2 way 90º Horiz.x40º vert. on the proscenium, 2 upper, 2 lower.
• Proscenium Center: 2 arrayed EAW MK2164 2 way 60º Horiz.x40º vert.
• Balcony Center: 2x EAW MK2194 2 way 90º Horiz.x40º vert arrayed around 1 EAW SB180
subwoofer
• 2 EAW SB180 subwoofers behind grates in walls HL and HR at orchestra level
Other available speakers:
• 4 EAW JF-80’s
• 2 EAW JF-60’s
• 4 EAW SM200 monitor wedges
• 4 JBL Control-1’s permanently mounted as rear fills.
System processing
• MediaMatrix Xframe and Xframe Breakout Box.
o The main Xframe is dedicated to the main FOH systems
o the Breakout box is patched to 8 patchable amp channels
Additional Amplification:
• We have 10 channels of available amplification BEYOND that required for the front of house
systems. We have 8 channels of available processing.
Console:
• Yamaha M2500 console
o 24 mono inputs
o 4 stereo inputs
o 8 group outs
o true LCR as an option
o 8 matrix outs
o 14 auxiliary outs.
o Mute scene recall- 128 scenes, 8 available on buttons.
Playback
• SFX 6.2.7. We have 16 outputs from this system available.
• CD Player
• IPod connection available
Effects Processing: We have 2 Lexicon LXP-15 reverb units.
Dynamics Processing:
• Presonus ACP8 8 channel compressor/limiter
• dbx 1066 compressor/limiter for a total of 10 channels.
Microphones and RF:
• ULXP4 Shure UHF wireless, with both a lav and a handheld mic available.
• We have SM58’s, SM57’s, and can draw from our larger inventory for other microphones as
necessary.
60
Communications
Clear Com four-channel system augmented by a single channel UHF wireless system for stage crew
use. Four (4) wired belt packs and four (4) wireless belt packs will be available for use. (There will
be a nominal charge for batteries). Backstage paging system can be implemented from Clear Com
main station as well as a microphone backstage. Audio and video monitoring systems are also in
place.
Carol G. Deane Rehearsal Hall
The Carol G. Deane Rehearsal Hall is located on the
2nd floor of the Calderwood Pavilion. It is an irregular
rectangle with angular walls and floor to ceiling
windows on the two walls overlooking Tremont
Street. The west wall has an 8’ tall mirror running
along its length and windows have blackout curtains.
The Rehearsal Hall has vinyl flooring on top of a
sprung wood floor and an irregular lighting grid that
follows the line of the roof and covers the entire space
to within a few feet of the walls. The walls and floor
may not be painted, screwed, bolted or lagged into.
Electrical Capability: 100-amp 3-phase company switch available.
Lighting and sound equipment may be available through Pavilion Management.
The lowest point on the grid is 14’.The highest point in the grid is 19’.
Dimensions:
Grid Capacities:
1654 square feet
North wall: 45’
East wall: 39’
South wall: 46’
West wall: 35’
Maximum Uniform Load 30 pounds
per linear foot (plf)
Maximum Concentrated Load
285lbs.
Maximum hanger loads @ a grid
loading of 30 plf 563lbs/hanger
Green Rooms
There are two green rooms located on the first floor behind the Roberts near the
Wardrobe room.
• Green rooms are equipped with a sink, microwave, refrigerator, and couches.
• There is an on-stage monitor in each green room with both audio and video.
• Pavilion management will assign the Production’s dressing rooms based on the
needs of all users.
61
Dressing Rooms
•
•
•
There are 6 dressing rooms as follows:
o 2 dressing rooms x 3 people on the 1st floor
o 2 dressing rooms x 5 people on the 2nd floor
o 2 dressing rooms x 7 people on the 2nd floor
Each dressing room is equipped with counters, shelves, mirrors, lights, one sink,
and between 1 and 3 wardrobe racks, depending on the size of the room.
There is an on-stage monitor in all dressing rooms.
Restrooms
•
•
In addition to the restrooms for the public, there is one set of men’s and women’s
rest rooms and separate showers backstage on the 1st floor. All Calderwood
Pavilion users share these restrooms.
Please do not leave personal effects in the restrooms.
Wardrobe Room
•
•
Users of the Wimberly and Roberts Theatres share the wardrobe room.
The wardrobe room is equipped with coin operated washers (2) and dryers (2),
and all other wardrobe supplies to maintain the Huntington productions.
Loading Dock
•
•
All Scenery must come into the theatres through the Atelier505 Loading Dock.
Trucks must be 24’ or less in length and the maximum height is 12’9”.
Clearances from the loading dock into the theatre are tight and require two (2)
90° turns. All door openings are approximately 8’ high and 8’ wide. It is
estimated that long items (16’-21’) will be able to make the corners depending on
width.
Building Access and Alarms
You will notice that both of the main doors to the theatre buildings have a swipe card
box. Arrangements will be made to greet you on arrival at the theatre on your first
day, at which time you will be given a swipe card, which will be used for access to the
building daily. This swipe card does not communicate with the building alarm, so
please do not attempt to access the building when it is closed. The best way to
determine if the building is open is to look up toward the 2nd floor at the front of the
building. If you see lights on, the building is open. When entering the building
outside of standard call times, please make sure that someone knows that you are in
the building. If there is no crew working in the theatre, check in with house
management, or the staff member covering in room 213. If you wish to be in the
building at times other than the scheduled calls, please make arrangements in
advance with Pavilion Management. The swipe card should be returned at the
conclusion of your run.
62
APPENDIX C
THE NANCY AND EDWARD
ROBERTS STUDIO THEATRE
GROUND PLAN
65
SEATING CAPACITY
66
STAGE SPECIFICATIONS
66
STAGE/ROOM DIMENSIONS
66
SOFT GOOD INVENTORY
66
CONTROL BOOTHS
67
LIGHTING DESCRIPTION
67
ADDITIONAL EQUIPMENT AND SUPPORT
67
LIGHTING INVENTORY
67
SOUND SYSTEM DESCRIPTION
68
SOUND SYSTEM INVENTORY
68
VIDEO MONITORING
68
64
Ground Plan
65
Seating Capacity
•
•
Type of Seating: Changeable
seating by American Seating.
190 or 209-seat standard
configuration included in
rental.
Stage Specifications
•
•
Flooring: ¼” painted
Masonite over a Bio Channel
sprung floor system.
There is 1 ¼” of wood to
screw or lag into floor.
Maximum lag diameter is
3/8”. No drilled holes larger
than ¼” are allowed.
Stage/Room Dimensions
North-South
East-West
49’
60’
Grid
Floor to gridiron
Grid Pattern
Maximum uniform load
Maximum concentrated load
Maximum hanger load-grid loading
of 30 plf
18’
38’ x 46’
4’-6” x 5’-6” grid
with additional lighting positions on
walls and gallery railings
30 pounds per linear foot (plf)
380 lbs.
580 lbs/hanger
Soft Good Inventory
10
2
1
1
Legs (25 oz Black Memorable)
17’-6” H x 10’ W
Two-Part Traveler (25 oz Black Memorable) 17’-6” H x 22’ W and 17’-6” H x 20’ W
(Total Width 40’-0”, Track for Traveler is 40 linear feet)
Cyclorama (Bleached White Muslin)
19’ H x 40’ W
Black Sharkstooth Scrim
18’ H x 40’ W
66
Control Booths
•
•
•
Stage Managers may call productions from the 2nd floor booth, or with prior arrangement,
from positions onstage or in the galleries.
Sound is operated from the 2nd floor booth, or with prior arrangement, from the galleries.
Lighting is operated from the 2nd floor booth, but can with prior arrangement, be set up to
operate from the galleries or backstage.
Lighting Description
•
Control
o 96 2.4k Dimmers (dimmer per circuit)
o ETC Express 250 or equivalent
o Integrated House/Run/Work light control
Additional Equipment and Support
Additional equipment and support may be available.
Lighting Inventory
Quantity
15
45
15
40
4
6
12
12
135
18
155
85
200
40
180
1
1
1
5
96
Item
Source 4 Leko
Source 4 Leko
Source 4 Leko
Source 4 Parnel
L&E
6' 3cir L&E Mini Strips #6560ALUM
Mini Flood work lights
L&E Hanging Irons w/ Mega Clamp Aluminum - Anodized Black
L&E Trunions
C Clamp for S4 and mini Flood
S4 par Barn Doors City Theatrical Type #2488
Source 4 Leko color Frame
Source 4 Par Color Frame
Color Frame for Mini Strip
Template Holders A Size Sandwich
Black Safety
Control
ETC Express 250
Remote Focus Unit
ETC NET II Video Node w/ monitor
ETC NET II DMX Nodes (permanently
mounted throughout theatre)
ETC Sensor 2.4kw Dimmers (dimmer per circuit)
67
Lamp
26 Degree GE HPL 575w 120v Long Life
36 Degree GE HPL 575w 120v Long Life
50 Degree GE HPL 575w 120v Long Life
GE HPL 575w 120v Long Life
GE FCZ 500w Frosted
2000hr 120v 500T3Q
GE EYC 12v 75w
Sound System Description and Inventory
1. Speaker systems The sound system in the Roberts Theatre features 4 self powered Renkus
Heinz loudspeakers with hanging hardware. (NOTE: Due to noise abatement requirements
in the building, the hanging hardware features vibration dampeners that negate the ability to
fully lock the speaker in a L-R pan position.) In addition to these, a Renkus-Heinz PN-112
powered subwoofer is available for floor use (not riggable). There are 4 E/V S-40 compact
speakers powered by a QSC CX254 4 channel amplifer.
2. Playback: Playback is accomplished through a CD player or other source provided by the
user.
3. Mixing console: A Yamaha MG32/14FX console is provided with the following:
a. 24 mono mic/line inputs
b. 4 stereo inputs
c. 4 groups outs, L/R out, mono out
d. 6 aux outs
e. 2 onboard SPX series digital effects processors
4. Additional processing for outputs is accomplished through an Ashly Protea 4 channel
digital Graphic EQ/Delay processor.
5. Intercomm: A Clear Com dual channel intercom system is available for crew use.
6. Program Monitor A program monitor mixer in the booth feeds a distribution panel in the
Wimberly light booth. From there, the signal is distributed to the Green Room, Wardrobe
Room, and dressing rooms as selected for each event.
Video monitoring: Wiring is available for video monitoring. One color camera is provided for a
full stage shot which is distributed from the Wimberly light booth throughout the building.
Additional video can be run for specific events, provided by the event. There is one 1 in 4 out VDA
in the Roberts booth rack.
68
APPENDIX D
PRODUCTION HISTORY
Luck of the Irish
Written by Kirsten Greenridge
Directed by Melia Bensussen
Scenic Design by James Noone
Costume Design by Mariann Verheyen
Lighting Design by Justin Townsend
Composition/Sound Design by David Remedios
Stage Management by Marti McIntosh
2011-2012
Candide
Music by Leonard Bernstein
Lyrics by Richard Wilbur
Adapted and Directed by Mary Zimmerman
Scenic Design by Dan Ostling
Costume Design by Mara Blumenfeld
Lighting Design by T.J. Gerkens
Sound Design by Richard Woodbury
Stage Management by Matt Shiner
Private Lives
Written by Noel Coward
Directed by Maria Aitken
Scenic Design by Allen Moyer
Costume Design by Candace Donnelly
Lighting Design by Philip Rosenberg
Sound Design by Rob Milburn
Stage Management by Leslie Sears
Before I Leave You
Written by Rosanna Yamagiwa Alfaro
Directed by Jonathan Silverstein
Scenic Design by Allen Moyer
Costume Design by Michael Krass
Lighting Design by David Lander
Composition/Sound Design by David Remedios
Stage Management by Carola LaCoste
2010-2011
Bus Stop
Written by William Inge
Directed by Nicholas Martin
Scenic Design by Jim Noone
Costume Design by Miranda Hoffman
Lighting Design by Philip Rosenberg
Sound Design by Alex Neumann
Stage Managed by Leslie Sears
Captors
Written by Evan M. Wiener
Directed by Peter DuBois
Scenic Design by Beowulf Borritt
Costume Design by Bobby Frederick Tilley II
Lighting Design by Russell Champa
Sound Design by M.L. Dogg
Stage Management by Marti McIntosh
Circle Mirror Transformation
Written by Annie Baker
Directed by Melia Bensussen
Scenic Design by Cristina Todesco
Costume Design by Bobby Frederick Tilley II
Lighting Design by Dan Kotlowitz
Sound Design by Dave Remedios
Stage Managed by Kathryn Most
God of Carnage
Written by Yasmina Reza
Translated by Christopher Hampton
Directed by Daniel Goldstein
Scenic Design by Dane Laffrey
Costume Design by Charles Schoonmaker
Lighting Design by Tyler Micoleau
Sound Design by Brett R. Jarvis
Stage Management by Kevin Robert Fitzpatrick
Vengeance is the Lord’s
Written by Bob Glaudini
Directed by Peter DuBois
Scenic Design by Eugene Lee
Costume Design by Mimi O’Donnell
Lighting Design by Japhy Weideman
Composition by David Van Tieghem
Sound Design by Ben Emerson
Stage Managed by Carola Morrone
Ma Rainey’s Black Bottom
Written by August Wilson
Directed by Liesl Tommy
Scenic & Costume Design by Clint Ramos
Lighting Design by Marcus Doshi
Original Music/Sound Design/Music Direction by Broken
Chord
Stage Management by Leslie Sears
70
Ruined
Written by Lynn Nottage
Directed by Liesl Tommy
Scenic Design by Clint Ramos
Costume Design by Kathleen Geldard
Lighting Design by Lap Chi Chu
Maureen McGovern in A Long and Winding
Road
at the Calderwood Pavilion
Conceived by Philip Himberg and Maureen
McGovern
Directed by Philip Himberg
Musical Direction by Jeffrey Harris
Scenic Design by Cristina Todesco
Costume Design by Chip Schoonmaker
Lighting Design by David Lander
Projection Design by Maya Ciarrocchi
Sound Design by Ben Emerson
Stage Managed by Kathryn Most
Original Music/Sound Design/Music Direction by Broken
Chord
Stage Managed by Anjee Nero
Educating Rita
Written by Willy Russell
Directed by Maria Aitken
Scenic Design by Allen Moyer
Costume Design by Nancy Brennan
Lighting Design by Joel Silver
Sound Design/Composition by John Gromada
Projections Design by Seaghan McKay
Stage Managed by Carola Morrone
A Civil War Christmas:
An American Musical Celebration
Written by Paula Vogel
Directed by Jessica Thebus
Music Supervised, Arranged,
and Orchestrated by Daryl Waters
Music Direction by Andrew Resnick
Scenic Design by Dan Ostling
Costume Design by Miranda Hoffman
Lighting Design by T.J. Gerckens
Incidental Music by Daryl Waters
Stage Managed by Gail Luna
Sons of the Prophet
Written by Stephen Karam
Directed by Peter DuBois
Scenic Design by Anna Louizos
Costume Design by Bobby Frederick Tilley II
Lighting Design by Japhy Weideman
Sound Design by M.L. Dogg
Stage Managed by Leslie Sears
Emerging America Festival featuring:
Psyched by Ryan Landry
The Momentum by CollaborationTown
All My Sons
Written by Arthur Miller
Directed by David Esbjornson
Scenic Design by Scott Bradley
Costume Design by Elizabeth Hope Clancy
Lighting Design by Christopher Akerlind
Original Music and Sound Design by John
Gromada
Projection Design by Maya Ciarrocchi
Stage Managed by Carola Morrone
2009-2010
Fences
Written by August Wilson
Directed by Kenny Leon
Scenic Design by Marjorie Bradley Kellogg
Costume Design by Mariann Verheyen
Lighting Design by Ann Wrightson
Sound Design by Ben Emerson
Stage Managed by Leslie Sears
Stick Fly
at the Calderwood Pavilion
Written by Lydia R. Diamond
Directed by Kenny Leon
Scenic Design by David Gallo
Costume Design by Reggie Ray
Lighting Design by Allen Lee Hughes
Sound Design by Timothy J. Thompson
Stage Managed by Kathryn Most
Propeller: Richard III & Comedy of Errors
Written by William Shakespeare
Directed by Edward Hall
Scenic & Costume Design by Michael Pavelka
Lighting Design by
71
Becky Shaw
Written by Gina Gionfriddo
Directed by Peter DuBois
Scenic Design by Derek McLane
Costume Design by Jeff Mahshie
Lighting Design by David Weiner
Sound Design by Walter Trarbach
Stage Managed by Lori Ann Zepp
The Corn is Green
Written by Emlyn Williams
Directed by Nicholas Martin
Scenic Design by Jim Noone
Costume Design by Bob Morgan
Lighting Design by Frances Aronson
Sound Design by Drew Levy
Stage Managed by Brandon Kahn
Prelude to a Kiss
Written by Craig Lucas
Directed by Peter DuBois
Scenic Design by Scott Bradley
Costume Design by Elizabeth Hope Clancy
Lighting Design by Japhy Weideman
Original Music and Sound Design by David
Remedios
Projection Design by Maya Ciarrocchi
Stage Managed by Leslie Sears
Two Men of Florence
Written by Richard Goodwin
Directed by Edward Hall
Scenic Design by Francis O’Conner
Costume Design by Francis O’Conner
Lighting Design by Ben Omerod
Sound Design by Matt McKenzie
Stage Managed by Gail Luna
The Miracle at Naples
at the Calderwood Pavilion
Written by David Grimm
Directed by Peter DuBois
Scenic Design by Alexander Dodge
Costume Design by Anita Yavich
Lighting Design by Rui Rita
Sound Design by Ben Emerson
Stage Managed by Leslie Sears
Emerging America Festival featuring:
Two Emerging Voices/One Double Bill
at the Calderwood Pavilion
Love Song in Two Voices by Amy Herzog
Seven Minutes in Heaven by Steven Levenson
2008-2009
How Shakespeare Won the West
Written by Richard Nelson
Directed by Jonathan Moscone
Scenic Design by Antje Ellerman
Costume Design by Laurie Churba
Lighting Design by Japhy Weideman
Sound Design by Rob Milburn and Michael
Bodeen
Stage Managed by Bethany Ford
Pirates! (or, Gilbert and Sullivan
Plunder’d)
Written by W.S. Gilbert and Sir Arthur Sullivan
Adapted by Nell Benjamin
Directed by Gordon Greenberg
Scenic Design by Rob Bissinger
Costume Design by David Woolard
Lighting Design by Jeff Croiter
Sound Design by Drew Levy and Tony Smolenski
Stage Managed by Gail Luna
Boleros for the Disenchanted
at the Calderwood Pavilion
Written by José Rivera
Directed by Chay Yew
Scenic Design by Alexander Dodge
Costume Design by Anita Yavich
Lighting Design by Paul Whitaker
Sound Design by Fabian Obispo
Stage Managed by Lori Doyle
Adam Pascal Live
at the Calderwood Pavilion
Written by Adam Pascal
Wishful Drinking
Created and performed by Carrie Fisher
Directed by Tony Taccone
Rock ‘n’ Roll
Written by Tom Stoppard
Directed by Carey Perloff
Scenic Design by Doug Schmidt
Costume Design by Alex Jaegar
Lighting Design by Robert Wierzel
Sound Design by Jake Rodriguez
Stage Managed by Kimberly Mark Webb
Judy Gold is Mommy Queerest
at the Calderwood Pavilion
Written by Judy Gold
Directed by Damon W. Arrington
72
The Cry of the Reed
at the Calderwood Pavilion
Written by Sinan Unel
Directed by Danny Goldstein
Scenic Design by Eugene Lee
Costume Design by Laurie Churba
Lighting Design by Michael Chybowski
Sound Design by Eric Shim
Stage Managed by Gail Luna
2007-2008
Alfred Hitchcock’s The 39 Steps
Original Book by John Buchan
Original Concept by Simon Corble and Nobby
Dimon
Adapted by Patrick Barlow
Directed by Maria Aitken
Scenic Design by Peter McKintosh
Costume Design by Peter McKintosh
Lighting Design by Kevin Adams
Sound Design by Mic Pool
Stage Managed by Nevin Hedley
She Loves Me
Book by Joe Masteroff
Lyrics by Sheldon Harnick
Music by Jerry Bock
Directed by Nicholas Martin
Choreographed by Dennis Jones
Musical Direction by Charlie Alterman
Scenic Design by Jim Noone
Costume Design by Bob Morgan
Lighting Design by Kenny Posner & Philip
Rosenberg
Sound Design by Drew Levy & Tony Smolenski IV
Stage Managed by Matt Silver
Brendan
at the Calderwood Pavilion
Written by Ronan Noone
Directed by Justin Waldman
Scenic Design by Alexander Dodge
Costume Design by Marian Verheyen
Lighting Design by Jeff Croiter
Sound Design by Fitz Patton
Stage Managed by Eileen Kelly
Streamers
Written by David Rabe
Directed by Scott Ellis
Scenic Design by Neil Patel
Costume Design by Tom Broeker
Lighting Design by Jeff Croiter
Sound Design by John Gromada
Stage Managed by Stephen Kaus
25 Questions for a Jewish Mother
at the Calderwood Pavilion
Written by Kate Moira Ryan and Judy Gold
Directed by Karen Kohlhaas
Scenic Design by Louis Thompson
Lighting Design by Jennifer Tipton
Sound Design by Jorge Muelle
Stage Managed by Damon Arrington
Third
Written by Wendy Wasserstein
Directed by Rick Seer
Scenic Design by Ralph Funicello
Costume Design by Bob Morgan
Lighting Design by Matt Richards
Sound Design by Bruce Ellman
Stage Managed by Stephen Kaus
Shakespeare’s Actresses in America
at the Calderwood Pavilion
Written by Rebekah Maggor
Directed by Karin Coonrod
Costume Design by Oana Botez-Ban
Lighting Design by Brian Scott
Sound Design by Tony Geballe
Stage Managed by Melissa Daroff
Shining City
Written by Conor McPherson
Directed by Robert Falls
Scenic Design by Santo Loquasto
Costume Design by Kay Voyce
Lighting Design by Chris Akerlind
Sound Design by Obediah Eaves
Stage Managed by Eileen Kelly
Huntington Presents
The Atheist
at the Calderwood Pavilion
Written by Ronan Noone
Directed by Justin Waldman
Scenic Design by Christina Todesco
Costume Design by Jessica Curtwright
Lighting Design by Ben Stanton
Sound Design by Alex Neumann
Stage Managed by Stephen Kaus
73
Ennio!
at the Calderwood Pavilion
Written by Ennio Marchetto
Costume Design by Sosthen Hennekam
Well
Written by Lisa Kron
Directed by Leigh Silverman
Scenic Design by Tony Walton
Costume Design by Miranda Hoffman
Lighting Design by Chris Akerlind
Sound Design by John Gromada
Stage Managed by Steve Kaus
Breaking Ground:
New Play Readings Festival
Unknown Soldier Music & Lyrics Michael
Friedman, Book & Lyrics by Daniel Goldstein
Sense of an Ending by Ken Urban
Thomas Repair by Mat Smart
Broke-ology by Nathan Louis
Caroline in Jersey by Melinda Lopez
Persephone
at the Calderwood Pavilion
Written by Noah Haidle
Directed by Nicholas Martin
Scenic Design by David Korins
Costume Design by Jenny Mannis
Lighting Design by Ben Stanton
Sound Design by Mark Bennett
Stage Managed by David Lurie
2006-2007
Radio Golf
Written by August Wilson
Directed by Kenny Leon
Scenic Design by David Gallo
Costume Design by Susan Hilferty
Lighting Design by Don Holder
Sound Design by Dan Moses Schrier
Stage Managed by Marion Friedman
Present Laughter
Written by Noel Coward
Directed by Nicholas Martin
Scenic Design by Alexander Dodge
Costume Design by Mariann Verheyen
Lighting Design by Rui Rita
Sound Design by Drew Levy
Stage Managed by Steve Kaus
Mauritius
at the Calderwood Pavilion
Written by Theresa Rebeck
Directed by Rebecca Taichman
Scenic Design by Eugene Lee
Costume Design by Miranda Hoffman
Lighting Design by Paul Whitaker
Sound Design by Marty Desjardins
Stage Managed by Steve Kaus
Huntington Presents: Kiki & Herb: Alive
From Broadway
at the Calderwood Pavilion
Created and executed by Justin Bond and Kenny
Mellman
Scenic Design by Scott Pask
Costume Design by Marc Happel
Lighting Design by Jeff Croiter
Sound Design by Brett Jarvis
Stage Managed by Daniel Kells
Rabbit Hole
Written by David Lindsay-Abaire
Directed by John Tillinger
Scenic Design by Jim Noone
Costume Design by Laurie Churba
Lighting Design by Dennis Parichy
Sound Design by John Gromada
Stage Managed by Thom Kauffman
Breaking Ground:
New Play Readings Festival
Alexandros by Melinda Lopez
Geometry of Fire by Stephen Belber
Parallelogram by Kate Snodgrass
Cry of the Reed by Sinan Unel
Searching for God in Suburbia by Matt Hoverman
Claire Silva by John Shea
The Cherry Orchard
Written by Anton Chekhov
Adapted by Richard Nelson
Directed by Nicholas Martin
Scenic Design by Ralph Funicello
Costume Design by Bob Morgan
Lighting Design by Don Holder
Sound Design by Drew Levy
Stage Managed by Steve Kaus
74
2005-2006
The Real Thing
Written by Tom Stoppard
Directed by Evan Yionoulis
Scenic Design by Kris Stone
Costume Design by Katherine Roth
Lighting Design by Stephen Strawbridge
Sound Design by Daniel Baker
Stage Managed by Thom Kauffman
Love’s Labour’s Lost
Written by William Shakespeare
Directed by Nicholas Martin
Scenic Design by Alexander Dodge
Costume Design by Mariann Verheyen
Lighting Design by Ben Stanton
Sound Design by Drew Levy
Original Composition by Michael Friedman
Stage Managed by Stephen M. Kaus
Carol Mulroney
at the Calderwood Pavilion
Written by Stephen Belber
Directed by Lisa Peterson
Scenic Design by Rachel Hauck
Costume Design by Kristin Glans
Lighting Design by Alexander V. Nichols
Original Music & Sound Design by John Gromada
Stage Managed by David H. Lurie
The Road Home: Re-Membering America
at the Calderwood Pavilion
Written by Marc Wolf
Directed by David Schweizer
Scenic Design by Andrew Lieberman
Costume Design by David Zinn
Lighting Design by Peter West
Sound Design by Rob Kaplowitz
Stage Managed by Thom Kauffman
The Sisters Rosensweig
Written by Wendy Wasserstein
Directed by Nicholas Martin
Scenic Design by David Korins
Costume Design by Robert Morgan
Lighting Design by Rui Rita
Sound Design by Drew Levy
Stage Managed by Stephen M. Kaus
Huntington Presents: Forbidden
Broadway, SVU
at the Calderwood Pavilion
Created, Written, and Directed by Gerard
Alessandrini
Musical Direction by Chatherine Stornetta
Choreography by Phillip George
Costume Design by Alvin Colt
Lighting Design by Marc Janowitz
Stage Managed by Jane Siebels
Les Liaisons Dangereuses
Breaking Ground: New Play Readings
Festival
Kind Hearts and Coronets by Steven Lutvak and
Robert Freedman
Persephone by Noah Haidle
Voyeurs de Venus by Lydia Diamond
Property by Valerie Martin
Atheist by Ronan Noone
Mauritius by Theresa Rebeck
Written by Christopher Hampton
Directed by Daniel Goldstein
Scenic Design by James Noone
Costume Design by Erin Chainani
Lighting Design by Mark Stanley
Sound Design by Benjamin Emerson
Original Music by Loren Toolajian
Stage Managed by Stephen M. Kaus
The Hopper Collection
Written by Mat Smart
Directed by Daniel Aukin
Scenic Design by Adam Stockhausen
Costume Design by Kaye Voyce
Lighting Design by Matt Frey
Sound Design by Benjamin Emerson
Stage Managed by Stephen M. Kaus
2004-2005
Gem of the Ocean
Written by August Wilson
Directed by Kenny Leon
Scenic Design by David Gallo
Costume Design by Constanza Romero
Lighting Design by Don Holder
Sound Design by Dan Moses Schrier
Original Composition by Kathryn Bostic
Stage Managed by Narda Alcorn
75
Culture Clash in AmeriCCA
at the Calderwood Pavilion
Created, Written, and Performed by Richard
Montoya, Ric Salinas, and Herbert Siguenza
Direction by Richard Montoya
Costume Design by Herbert Siguenza
Lighting Design by Ken Elliott
Sound Design by Gabe Wood and Richard
Montoya
Choreography by Ric Salinas
Stage Managed by Jane Siebels
Sonia Flew
at the Calderwood Pavilion
Written by Melinda Lopez
Directed by Nicholas Martin
Scenic Design by Adam Stockhausen
Costume Design by Kristin Glans
Lighting Design by Frances Aronson
Sound Design by Drew Levy
Stage Managed by David H. Lurie
Playboy of the Western World
at the Wilbur Theatre
Written by J.M. Synge
Directed by Ben Barnes
Designed by Guido Tondino
Lighting Design by Peter Mumford
Falsettos
Music and Lyrics by William Finn
Book by Rachel Sheinkin
Conceived by Rebecca Feldman
Directed by Danny Goldstein
Scenic Design by David Korins
Costume Design by Miguel Huidor
Lighting Design by Don Holder
Sound Design by Zach Moore
Stage Managed by Steve Kaus
Burn This
Written by Lanford Wilson
Directed by Susan Fenichell
Scenic Design by James Noone
Costume Design by Candice Donnelly
Lighting Design by M.L. Geiger
Sound Design by Drew Levy
Stage Managed by Thom Kauffman
Laughing Wild
at the Calderwood Pavilion
Written by Christopher Durang
Directed by Nicholas Martin
Scenic Design by Jon Savage
Costume Design by Jeff Mahshie
Lighting Design by Charles Foster
Sound Design by Gabe Wood
Stage Managed by Jane Siebels
The Rivals
Written by Richard Brimsley Sheridan
Directed by Nicholas Martin
Scenic Design by Alexander Dodge
Costume Design by Michael Krass
Lighting Design by Dennis Parichy
Sound Design by Jerry Yager
Stage Managed by Stephen M. Kaus
Stages: Hinges Keep a City
at the Calderwood Pavilion
Written by Kirsten Greenidge
Directed by Judy Braha
Scenic Design by Tijana Bjelajac
Costume Design by Christine Alger
Lighting Design by Steve McIntosh
Sound Design by Ben Emerson
Choreographed by Christine Bennett
Stage Managed by Jillian Oliver
Trumbo: Red, White and Blacklisted
at the Calderwood Pavilion
Written by Christopher Trumbo
Directed by Peter Askin
Scenic Design by Loy Arcenas
Lighting Design by Jeff Croiter
Music and Sound Design by John Gromada
Video Design by Dennis Diamond
Stage Managed by Arabella Powell
Breaking Ground:
New Play Readings Festival
Smiler Becoming Yank by Ronan Noone
The Hopper Collection by Mat Smart
Two Days at Home, Three Days in Prison by
Rebekah Maggor
Pen by David Marshall Grant
Marvel by Joshua Scher
Create Fate by Etan Frankel
36 Views
Written by Naomi Iizuka
Directed by Evan Yionoulis
Scenic Design by Adam Stockhausen
Costume Design by Teresa Snider-Stein
Lighting Design by Chris Parry
Sound Design by David Budries
Stage Managed by Thom Kauffman
76
2003-2004
Ain’t Misbehavin’
Based on an idea by Murray Horwitz and
Richard Maltby, Jr.
with music by Thomas "Fats" Waller
Directed and Choreographed by Marcia Milgrom
Dodge
Scenic Design by James Noone
Costume Design by Michael Krass
Lighting Design by Michael Philippi
Sound Design by Ben Emerson
Stage Managed by Thom Kauffman
The Rose Tattoo
Written by Tennessee Williams
Directed by Nicholas Martin
Scenic Design by James Noone
Costume Design by Michael Krass
Lighting Design by Kevin Adams
Sound Design by Jerry Yager
Stage Managed by Thom Kauffman
Breaking Ground:
New Play Readings Festival
Stabbing by Stephen Belber
The Ice-Breaker by David Rambo
Sonia Flew by Melinda Lopez
Jasper Lake by John Kuntz
Pathetique by Sinan Unel
Lily book by Peter Flynn, music and lyrics by
Brooks Ashmanskas
Butley
Written by Simon Gray
Directed by Nicholas Martin
Scenic Design by Alexander Dodge
Costume Design by Michael Krass
Lighting Design by David Weiner
Sound Design by Kurt Kellenberger
Stage Managed by Stephen Kaus
2002-2003
A Month in the Country
Adapted by Brian Friel
From Ivan Turgenev
Directed by Nicholas Martin
Scenic Design by Alexander Dodge
Costume Design by Michael Krass
Lighting Design by Jeff Croiter
Sound Design by Jerry Yager
Stage Managed by Kelley Kirkpatrick
As You Like It
at the Wilbur Theatre
Written by William Shakespeare
Directed by Sir Peter Hall
Scenic Design by John Gunter
Costume Design by John Gunter
Lighting Design by Peter Mumford
Sound Design by Gregory Clarke
Composed by Mick Sands
Stage Managed by Thomas Kauffman
Marty
Music by Charles Strauss
Lyrics by Lee Adams
Book by Rupert Holmes
Directed by Mark Brokaw
Scenic Design by Robert Jones
Costume Design by Jess Goldstein
Lighting Design by Mark McCullough
Sound Design by Kurt Fischer
Stage Managed by James Fitzsimmons
Bad Dates
Written by Theresa Rebeck
Directed by John Benjamin Hickey
Scenic Design by Derek McLane
Costume Design by Mattie Ulrich
Lighting Design by Frances Aronson
Sound Design by Bruce Ellman
Stage Managed by Meghan Schneid
The Tale of The Alergist’s Wife
at the Wilbur Theatre
Written by Charles Busch
Directed by Lynne Meadow
Scenic Design by Santo Loquasto
Costume Design by Ann Roth
Lighting Design by Christopher Akerlind
Sound Design by Bruce Ellman and Brian Ronan
Stage Managed by Robert Witherow
What the Butler Saw
Written by Joe Orton
Directed by Darko Tresnjak
Scenic Design by David Gordon
Costume Design by Linda Cho
Lighting Design by Matthew Richards
Sound Design by Ben Emerson
Stage Managed by Thom Kauffman
77
The Blue Demon
Written and Directed by Darko Tresnjak
Scenic Design by David Gordon
Costume Design by Linda Cho
Lighting Design by Rui Rita
Sound Design by Kurt Kellenberger
Stage Managed by Thom Kauffman
Heartbreak House
Written by George Bernard Shaw
Directed by Darko Tresnjak
Scenic Design by Alexander Dodge
Costume Design by Linda Cho
Lighting Design by Rui Rita
Sound Design by Jerry Yager
Stage Managed by Janet Takami
Breath, Boom
Written by Kia Corthron
Directed by Michael John Garces
Scenic Design by Adam Stockhausen
Costume Design by Karen Perry
Lighting Design by Kirk Bookman
Sound Design by Martin Desjardins
Stage Managed by Thom Kauffman
Nixon's Nixon
Written by Russell Lees
Directed by Charles Towers
Scenic Design by Bill Clark
Costume Design by Hillary Derby
Lighting Design by Dan Kotlowitz
Sound Design by Ben Emerson
Stage Managed by Thomas Kauffman
Springtime for Henry
Written by Benn W. Levy
Directed by Nicholas Martin
Scenic Design by James Noone
Costume Design by Michael Krass
Lighting Design by David Weiner
Sound Design by Kurt Kellenberger
Stage Managed by Stephen M. Kaus
Observe the Sons of Ulster
Marching Towards the Somme
at the Wilbur Theatre
Written by Frank McGuinness
Directed by Nicholas Martin
Scenic Design by Alexander Dodge
Costume Design by Michael Krass
Lighting Design by Francis Aronson
Sound Design by Jerry Yager
Stage Managed by Alex Lyu Volckhausen
Cookin’ at the Cookery
Written and Directed by Marion J. Caffey
Scenic and Lighting Design by Dale Jordan
Costume Design by Marilyn Wall
Ten Unknowns
Written by Jon Robin Baitz
Directed by Evan Yionoulis
Scenic Design by Adam Stockhausen
Costume Design by Tom Booker
Lighting Design by Donald Holder
Sound Design by Ben Emerson
Stage Managed by Thom Kauffman
2001-2002
James Joyce's The Dead
Book by Richard Nelson
Music by Shaun Davey
Lyrics conceived and adapted by
Richard Nelson and Shaun Davey
Directed by Richard Nelson
Scenic Design by David Jenkins
Costume Design by Jane Greenwood
Lighting Design by Jennifer Tipton
Sound Design by Jeff Curtis
Stage Managed by Julie Haber
The Maiden's Prayer
at Studio 210
Written by Nicky Silver
Directed by Scott Edmiston
Scenic Design by Janie Howland
Costume Design by Gail Astrid Buckley
Lighting Design by Karen J. Perlow
Sound Design by Dewey Dellay
Stage Managed by Steve Kaus
Betty's Summer Vacation
Written by Christopher Durang
Directed by Nicholas Martin
Scenic Design by Tom Lynch
Costume Design by Michael Krass
Lighting Design by Kevin Adams
Sound Design by Kurt Kellenberger
Stage Managed by Grayson Meritt
78
The Amen Corner
Written by James Baldwin
directed by Chuck Smith
Scenic Design by Felix Cochren
Costume Design by Birgit Rattenborg Wise
Lighting Design by Robert Christen
Sound Design by Michael Bodeen
Stage Managed by Thom Kauffman
2000-2001
Dead End
Written by Sidney Kingsley
Directed by Nicholas Martin
Scenic Design by Jim Noone
Costume Design by Michael Krass
Lighting Design by Ken Posner
Sound Design by Kurt Kellenberger
Stage Managed by Kelley Kirkpatrick/ Printha
McCallum
1999-2000
Mrs. Warren's Profession
Written by George Bernard Shaw
Directed by Michael Bloom
Scenic Design by Russell Parkman
Costume Design by Lindsay Davis
Lighting Design by Nancy Schertler
Stage Managed by Corrine Marrinan
A Fair Country
Written by Jon Robin Baitz
Directed by Anna D. Shapiro
Scenic Design by Mark Wendland
Costume Design by Karin Kopischke
Lighting Design by Kevin Adams
Sound Design by Ben Emerson
Stage Managed by Thom Kauffman
The Last Hurrah
Adapted and Directed by Eric Simonson
Based on the novel by Edwin O'Connor
Scenic Design by James Wolk
Costume Design by Karen Kopischke
Lighting Design by Don Holder
Sound Design by Mitch Greenhill
Stage Managed by Thom Kauffman
Fully Committed
at the Wilbur Theatre
Written by Becky Mode
Directed by Nicholas Martin
Co-production with Broadway in
Boston/SFX Theatrical Group
Scenic Design by Jim Noone
Lighting Design by Frances Aronson
Sound Design by Ben Emerson
Stage Managed by Bess Marie Glorioso
Sisters Matsumoto
Written by Philip Kan Gotanda
Directed by Sharon Ott
Scenic Design by Kate Edwards
Costume Design by Lydia Tanji
Lighting Design by Nancy Schertler
Sound Design by Jeff Mockus
Stage Managed by Tanya Gillette
Hedda Gabler
Written by Henrik Ibsen
Adapted by Jon Robin Baitz
Directed by Nicholas Martin
Scenic Design by Alexander Dodge
Costume Design by Michael Krass
Lighting Design by Kevin Adams
Sound Design by Jerry Yager
Stage Managed by Kelley Kirkpatrick
Mary Stuart
Written by Friedrich Schiller
Translated by Michael Feingold
Directed by Carey Perloff
Scenic Design by Ralph Funicello
Costume Design by Deborah Dryden
Lighting Design by Peter Maradudin
Sound Design by Garth Hemphill
Stage Managed by Kimberly Webb
Amphitryon
Written by Moliere
Directed by Darko Tresnjak
Scenic Design by David Gordon
Costume Design by Linda Cho
Lighting Design by Fraces Aronson
Sound Design by Jerry Yager
Stage Managed by Grayson Merrit
King Hedley II
Written by August Wilson
Directed by Marion Isaac McClinton
Scenic Design by David Gallo
Costume Design by Toni-Leslie James
Lighting Design by Don Holder
Sound Design by Rob Milburn
79
1998-1999
Gross Indecency: The Three
Trials of Oscar Wilde
Written by Moisés Kaufman
Directed by Michael Bloom
Scenic Design by Robert Schmidt
Costume Design by David Murin
Lighting Design by Nancy Schertler
Sound Design by Ben Emerson
Stage Managed by Thom Kauffman
1997-1998
The Game of Love and Chance
Written by Marivaux
Adapted and Directed by Stephen Wadsworth
Scenic Design by Tom Lynch
Costume Design by Martin Pakledinaz
Lighting Design by Peter Kaczorowski
Stage Managed by Mary-Susan Gregson
Cabaret Verboten
An Evening Created by Jeremy Lawrence
Directed by Martin L. Platt
Scenic Design by Russell Parkman
Costume Design by Holly Poe Durbin
Lighting Design by Robert Wiertzel
Sound Design by Ben Emerson
Stage Managed by Thom Kauffman
Jitney
Written by August Wilson
Directed by Marion McClinton
Scenic Design by David Gallo
Costume Design by Susan McKay
Lighting Design by Don Holder
Sound Design by Rob Milburn
Stage Managed by Diane DiVita
The Shaughraun
Written by Dion Boucicault
Directed by Larry Carpenter
Scenic Design by James Youmans
Costume Design by David Murin
Lighting Design by Phil Monat
Sound Design by Stephen LeGrand
Stage Managed by Jennifer Lynn Brown
A Midsummer Night's Dream
Written by William Shakespeare
Directed by Mary Zimmerman
Scenic Design by Scott Bradley
Costume Design by Mara Blumenfeld
Lighting Design by Scott Zielinski
Sound Design by Michael Bodeen
Stage Managed by Thom Kauffman
Collected Stories
Written by Donald Margulies
Drected by Jacques Cartier
Scenic Design by Karl Eigsti
Costume Design by Lindsay W Davis
Lighting Design by Roger Meeker
Stage Managed by Jennifer Lynn Brown
The Steward of Christendom
Written by Sebastian Barry
Directed by Edward Gilbert
Scenic Design by James Wolk
Costume Design by Pamela Scofield
Lighting Design by Tom Sturge
Sound Design by Ben Emerson
Stage Managed by Thom Kauffman
Nomathemba
at the Shubert Theatre
Written by Ntozake Shange, Eric Simonson,
and Joseph Shabalala
Directed by Eric Simonson
Scenic Design by Loy Archnas
Costume Design by Karin Kopischke
Lighting Design by Kenneth Posner
Sound Design by Michael Bodeen
Stage Managed by Mary- Susan Gregson
The Mikado
Written by William S. Gilbert and Sir Arthur
Sullivan
Directed by Larry Carpenter
Scenic Design by James Leonard Joy
Costume Design by Mariann Verhyen
Lighting Design by Don Holder
Sound Design by Duncan Edwards
Stage Managed by Wendy Walker
Ah, Wilderness!
Written by Eugene O'Neill
Directed by Kyle Donnelly
Scenic Design by Scott Bradley
Costume Design by Paul Tazewell
Lighting Design by Scott Zelinski
Sound Design by Rob Milburn
Stage Managed by Thom Kauffman
80
1995-1996
Seven Guitars
Written by August Wilson
Directed by Lloyd Richards
Scenic Design by Scott Bradley
Costume Design by Constanza Romero
Lighting Design by Chris Akerlind
Sound Design by Tom Clark
Stage Managed by Jane E Neufeld
1996-1997
Arcadia
Written by Tom Stoppard
Directed by Jacques Cartier
Scenic Design by Karl Eigsti
Costume Design by Lindsay Davis
Lighting Design by Roger Meeker
Stage Managed by Timothy Jason Smith
Journey to the West
Translated by Anthony C. Yu
Adapted and Directed by Mary Zimmerman
Scenic Design by Scott Bradley
Costume Design by Allison Reeds
Lighting Design by TJ Gerckens
Sound Design by Michael Bodeen
Stage Managed by Joseph Smelser
The Young Man from Atlanta
Written by Horton Foote
Directed by Peter Masterson
Set Design by E. David Cosier
Costume Design by Teresa Snider-Stein
Lighting Design by Christopher Akerlind
Stage Managed by David Hyslop
The Glass Menagerie
Written by Tennessee Williams
Directed by Charles Towers
Scenic Design by Bill Clarke
Costume Design by Mariann Verhayen
Lighting Design by Nancy Schertler
Stage Managed by Jennifer Lynn Brown
Iolanthe
Book and Lyrics by William S. Gilbert
Music by Arthur Sullivan
Directed by Larry Carpenter
Scenic Design by James Leonard Joy
Costume Design by Mariann Verheyen
Lighting Design by Marcia Madeira
Sound Design by John Kilgore
Stage Managed by Timothy Jason Smith
Blues for an Alabama Sky
Written by Pearl Cleage
Directed by Kenny Leon
Scenic Design by Marjorie Bradley Kellogg
Costume Design by Susan E. Mickey
Lighting Design by Ann G. Wrightson
Sound Design by David Budries
Music Composed By Dwight D. Andrews
Pre-show Music Designed By Brian Kettler
Stage Managed by Barbara Reo
Hamlet
Written by William Shakespeare
Directed by Eric Simonson
Scenic Design by Robert Brill
Costume Design by Allison Reeds
Lighting Design by Nancy Schertler
Sound Design by Michael Bodeen
Stage Managed by Timothy Jason Smith
To Kill a Mockingbird
Original Book by Harper Lee
Adapted by Christopher Sergel
Directed by Charles Towers
Scenic Design by Bill Clarke
Costume Design by Elizabeth Novak
Lighting Design by Jackie Manassee
Stage Managed by Timothy Jason Smith
Company
Music and Lyrics by Stephen Sondheim
Book by George Furth
Directed by Larry Carpenter
Scenic Design by Loren Sherman
Costume Design by Toni-Leslie James
Lighting Design by Phil Monat
Sound Design by Duncan Edwards
Stage Managed by Jennifer Lynn Brown
81
1994-1995
The Woman Warrior
Based on the works The Woman Warrior and
China Men by Maxine Hong Kingston
Adapted by Deborah Rogin
Directed by Sharon Ott
Scenic Design by Ming Cho Lee
Costume Design by Susan Hilferty
Lighting Design by Peter Marudin
Sound Design by Stephen LeGrand
Stage Managed by Robin Rumpf
The Lady From the Sea
Written by Henrik Ibsen
Directed by Sharon Ott
Scenic Design by Kate Edmunds
Costume Design by Deb Dryden
Lighting Design by Peter Marudin
Stage Managed by Kimberly Mark Webb
A Christmas Carol
Written by Charles Dickens
Adapted and Directed by LarryCarpenter
Musical Direction by Catherine Stornetta
Scenic Design by James Leonard Joy
Costume Design by Mariann Verheyen
Lighting Design by Craig Miller
Sound Design by John Kilgore
Stage Managed by Jennifer Lynn Brown
Pterodactyls
Written by Nicky Silver
Directed by Mark Brokaw
Scenic Design by Allen Moyer
Costume Design by Susan E Mickey
Lighting Design by Pat Dignan
Stage Managed by William H. Lang
The Importance of Being Earnest
Written by Oscar Wilde
Directed by Jacques Cartier
Scenic Design by Bob Morgan
Costume Design by David Murin
Lighting Design by Roger Meeker
Stage Managed by Michael Suenkel
As You Like It
Written by William Shakespeare
Directed by Edward Gilbert
Scenic Design by Marjorie Bradley Kellogg
Costume Design by Mariann Verheyen
Lighting Design by Dennis Parichy
Stage Managed by Jane Rothman Ronis
The Guardsman
Written by Ferenc Molnar
Directed by Jacques Cartier
Scenic Design by James Leonard Joy
Costume Design by Lindsay W Davis
Lighting Design by Roger Meeker
Stage Managed by Jennifer Lynn Brown
Bang the Drum Slowly
Written by Mark Harris
Adapted and directed by Eric Simonson
Scenic Design by James Leonard Joy
Costume Design by Susan E Mickey
Lighting Design by Rita Pietraszek
Sound Design by Rob Milburn
Stage Managed by Jennifer Lynn Brown
A Raisin in the Sun
Written by Lorraine Hansberry
Directed by Kenny Leon
Scenic Design by Marjorie Bradley Kellogg
Lighting Design by Ann Wrightson
Costume Design by Susan E Mickey
Stage Managed by Jennifer Lynn Brown
A Streetcar Named Desire
Written by Tennessee Williams
Directed by Charles Towers
Scenic Design by Mark Wendland
Costume Design by Erin Quigley
Lighting Design by Nancy Schertler
Sound Design by Pam Emerson
Stage Managed by Jennifer Lynn Brown
1993-1994
From the Mississippi Delta
Written by Dr. Endesha Ida Mae Holland
Directed by Kenny Leon
Scenic Design by Marjorie Kellogg
Costume Design by Susan E Mickey
Lighting Design by Ann Wrightson
Stage Managed by Jennifer Lynn Brown
82
1992-1993
Pal Joey
Music by Richard Rodgers
Lyrics by Lorenz Hart
Book by John O'Hara
Adapted by Richard Greenberg
Directed by David Warren
Scenic Design by John Arnone
Costume Design byToni-Leslie James
Lighting Design by Peter Kaczorowski
Sound Design by Darryl Bornstein
Stage Managed by Jennifer Lynn Brown
1991-1992
The Snow Ball
Written by A.R. Gurney
Directed by Jack O'Brien
Tartuffe
Written by Moliere
Directed by Jacques Cartier
A Christmas Carol
Written by Charles Dickens
Adapted and directed by Larry Carpenter
Long Day's Journey into Night
Written by Eugene O'Neill
Directed by Edward Gilbert
Scenic Design by Karl Eigsti
Costume Design by Mariann Verheyen
Lighting Design by Nick Cernovitch
Stage Managed by Renee Alexander
The Little Foxes
Written by Lillian Hellman
Directed by Kyle Donnelly
Cymbeline
Written by William Shakespeare
Directed by Larry Carpenter
A Christmas Carol
Written by Charles Dickens
Adapted and directed by LarryCarpenter
Musical direction by Catherine Stornetta
Scenic Design by James Leonard Joy
Costume Design by Mariann Verheyen
Lighting Design by Craig Miller
Sound Design by John Kilgore
Stage Managed by Jennifer Lynn Brown
The Way of the World
Written by William Congreve
Directed by Sharon Ott
1990-1991
H.M.S. Pinafore
Written by William S. Gilbert and Sir Arthur
Sullivan
Directed by Larry Carpenter
Scenic Design by James Leonard Joy
Costume Design by Mariann Verheyen
Lighting Design by Stuart Duke
My Mother Said I Never Should
Written by Charlotte Keatley
Directed by Charles Towers
Scenic Design by John Fallabella
Lighting Design by Jackie Mannassee
Costume Design by Barbara Kravitz
Sound Design by David Strang
Two Trains Running
Written by August Wilson
Directed by Lloyd Richards
Aristocrats
Written by Brian Friel
Directed by Kyle Donnelly
Undiscovered Country
Written by Arthur Schnitzler
Adapted by Tom Stoppard
Directed by Jacques Cartier
Scenic Design by Kate Edmunds
Costume Design by John Fallabella
Lighting Design by Roger Meeker
Stage Managed by Jennifer Brown
Iphigenia
Written by Euripides
Directed by Tazewell Thompson
Travesties
Written by Tom Stoppard
Directed by Jacques Cartier
Arms and the Man
Written by George Bernard Shaw
Directed by Larry Carpenter
Scenic Design by James Leonard Joy
Costume Design by David Murin
Lighting Design by Marcia Madiera
Stage Managed by Jennifer Brown
1989-1990
Hyde Park
Written by James Shirley
Directed by Kyle Donnelly
83
Boesman and Lena
Written by Athol Fugard
Directed by Tazewell Thompson
Animal Crackers
Written by George S. Kaufman and Morrie
Ryskind
Directed by Larry Carpenter
O Pioneers!
Written by Willa Cather
Adapted by Darrah Cloud
Directed by Kevin Kuhlke
1986-1987
Joe Turner's Come and Gone
Written by August Wilson
Directed by Lloyd Richards
The Merry Wives of Windsor
Written by William Shakespeare
Directed by Edward Gilbert
Heartbreak House
Written by George Bernard Shaw
Directed by Edward Gilbert
The Lady from Maxim's
Written by Georges Feydeau
Directed by Larry Carpenter
Awake and Sing
Written by Clifford Odets
Directed by Ben Levit
1988-1989
The American Clock
Written by Arthur Miller
Directed by Jackson Phippin
Jumpers
Written by Tom Stoppard
Directed by Jacques Cartier
Don Juan
Written by Molière
Directed by Jacques Cartier
The Diary of A Scoundrel
Written by Alexander Ostrovsky
Directed by Larry Carpenter
Les Blancs
Written by Lorraine Hansberry
Directed by Harold Scott
1985-1986
Sullivan and Gilbert
Written by Kenneth Ludwig
Directed by Larry Carpenter
All's Well That Ends Well
Written by William Shakespeare
Directed by Edward Gilbert
Candide
Written by Voltaire
Music by Leonard Bernstein
Directed by Larry Carpenter
The Misanthrope
Written by Molière
Directed by Edward Gilbert
The Birthday Party
Written by Harold Pinter
Directed by Ben Levit
1987-1988
Remembrance
Written by Graham Reid
Directed by Munson Hicks
Saint Joan
Written by George Bernard Shaw
Directed by Jacques Cartier
The Winter's Tale
Written by William Shakespeare
Directed by Sharon Ott
On the Verge
Written by Eric Overmyer
Directed by Pamela Berlin
The Piano Lesson
Written by August Wilson
Directed by Lloyd Richards
1984-1985
You Never Know
Music and lyrics by Cole Porter
Directed by Paul Lazarus
Saturday, Sunday, Monday
Written by Eduardo de Filippo
Directed by Jacques Cartier
84
Twelfth Night
Written by William Shakespeare
Directed by Thomas Gruenewald
The Taming of the Shrew
Written by William Shakespeare
Directed by Toby Robertson
Uncle Vanya
Written by Anton Chekhov
Directed by Jacques Cartier
Terra Nova
Written by Ted Tally
Directed by Michael Murray
The Plough and the Stars
Written by Sean O'Casey
Directed by Pamela Berlin
1983-1984
Design for Living
Written by Noel Coward
Directed by Ken Ruta
Uncommon Women and Others
Written by Wendy Wasserstein
Directed by Larry Carpenter
Cyrano de Bergerac
Written by Edmond Rostand
Directed by Jacques Cartier
Plenty
Written by David Hare
Directed by Edward Gilbert
On the Razzle
Written by Tom Stoppard
Adapted from Johann Nestroy
Directed by Thomas Gruenewald
1982-1983
Night and Day
Written by Tom Stoppard
Directed by Toby Robertson
The Dining Room
Written by A.R. Gurney
Directed by Thomas Gruenewald
Translations
Written by Brian Friel
Directed by Jacques Cartier
Time and the Conways
Written by J.B. Priestley
Directed by Elinor Renfield
85