Theatre Design & Technology - Dec 1972 - 22

a Building Department examiner specializing in theatre
construction took the project on.
At this point it should be said that there are two codes
in New York City, an old code and a new code, both of
which are as strict as any in the country. The old code is
extremely rigid, and in many ways is responsible for the
physical uniformity of the theatres on Broadway. However, its killer regulations apply only to Places of Assembly, as theatres are called, with capacities over 199. Below
that, it's virtually open season. This accounts for the variety of shapes that the smaller Off-Broadway - 199 seats
and under - houses have been able to assume. The section
of the new code relating to Places of Assembly allows
more flexible spaces to be built; however, it does not
apply to buildings constructed before its passage in 1967,
or to renovations costing less than half the assessed value
of the existing structure. For a multitude of other reasons
as well, it didn't apply to DUDE. We had to file under the
old code - somehow.
The first stumbling block we encountered was structural. The old code had never mentioned high strength
steel scaffolding and shoring used on the interior of a
building. All it recognized was heavy, three inch diameter,
lally columns, generally used for sidewalk bridging. These
would have gone right through the auditorium floor of
their own weight. However, the scaffolding contractor,
whose systems had been used at the ANT A as well, sent
his engineer with test results of all its components, documented in full with precedents. The inspector aRd chief
engineer of the Building Department carefully examined
the allowable safe load tables and passed it under the new
code. Then, just when we seemed passed, finished with
permits and ready to go, another examiner questioned the
kind of Building Notice filed, suggesting that we had to
file again, get a new number for a different kind of permit, and wait for a totally new examination. I put my
hands over my ears, closed my eyes and waited a couple
of hours. That crisis passed only to be replaced by
another.
Although at our initial review all aspects of the DUDE
scheme had been pronounced viable in principle, all of a
sudden the examiners held that the means and sizes of
egress must conform to an archaic theatre form described
in the old code, which did not take into account the
temporary or contemporary nature of the DUDE structure. The scene that day at the Building Department was
like a gathering of old Hasidic scholars arguing a fine point
of the Talmud. It had to do with "stadium theatres" and
how DUDE's environment fit that definition. (Ironically,
the RISD auditorium, where DUDE's prototype was first
created, would have fit the old code "stadium theatre"
definition perfectly.) Finally, the examiners concluded
that the deck and mezzanine of the existing balcony
would be considered as the orchestra, and the rear portion
of the balcony above the cross aisle would be the stadium.
Another problem hanging over us throughout the ex-

22

~

ami nation was that we were applying for a permit to build
a temporary structure for a one year period. Temporary
structures are not mentioned in either code and have precedent only in the mounting of shows at the Coliseum and
Madison Square Garden. Further, because of the recent
investigation of Building Department procedures, no one
was about to take the responsibility for passing anything
as far out as the DUDE design without being very sure
that it conformed to something - anything - pretty stringently. And so the last hours of the last day at the Building Department were characterized by squeezing and shoving, and interpreting and haggling and adjusting and improving until the design of our new "stadium orchestra",
an entire story above grade, its entries, exits, and lobbies
conformed to new interpretations of the articles of the
old code.
But by the end of th is long day of del iberation, it was
clear that the officials of the Building Department had
been willing and interested in examining DUDE's design in
the spirit rather than the letter of the law. That it finally
passed is encouraging for the future of Broadway.
Once we got our permit, we were swept up by the
momentum of the project. Besides our own enthusiasm,
the Holzers, the Shuberts, and everybody else, it seemed,
were pushing us like crazy. The Midtown Manhattan Planning Office was waiting to be the proud parent of the
revitalized theatre they had dreamed of. But we were
weeks off any standard construction schedule. Contracts
still had to be negotiated between the powerfu I stagehand's union and the many carpenter's locals who supply
labor for both scaffolding and drywall construction. Materials had to be ordered. Furthermore, to get the Building
Permit, we had to double the quantity of gypsum board,
thereby doubling the amount of construction, while virtually reducing construction time by half.
The only way to bridge the gap and not default on the
schedule was with money, lots of it. We were open to
being ripped off by anyone in sight. In our paranoia, we
had images of contractors sporting brand new Sulka dressing gowns in emulation of others who have made it big in
Show Biz. But there was nothing to be done but keep
paying and hope like hell the show would be a sensation.
The set-environment was going up. It would be ready on
time. However, almost everyone involved was scandalized
at spending such a healthy sum for rebuilding a theatre for
only the run of the show - a run that can be speculatively
short, a spendthrift gamble, and was, in fact, a disaster.
Historically, theatre, as performance, is perhaps the
most transitory of our art forms. Like sound, settings of
paint and canvas, plywood and net, last but a short while
and are gone. Architecture, on the other hand, appears
mythically eternal, a permanent and enduring monument.
We th ink of pyramids, cathedrals, Ind ian temples, Inca
masonry. But we forget that buildings like stage sets crumble too. We do not compare the maximum 25 year life
expectancy for today's office towers, nor the maximum

THEATRE DESIGN AND TECHNOLOGY

DECEMBER. 1972



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1972

Contents
Theatre Design & Technology - Dec 1972 - 1
Theatre Design & Technology - Dec 1972 - 2
Theatre Design & Technology - Dec 1972 - 3
Theatre Design & Technology - Dec 1972 - Contents
Theatre Design & Technology - Dec 1972 - 5
Theatre Design & Technology - Dec 1972 - 6
Theatre Design & Technology - Dec 1972 - 7
Theatre Design & Technology - Dec 1972 - 8
Theatre Design & Technology - Dec 1972 - 9
Theatre Design & Technology - Dec 1972 - 10
Theatre Design & Technology - Dec 1972 - 11
Theatre Design & Technology - Dec 1972 - 12
Theatre Design & Technology - Dec 1972 - 13
Theatre Design & Technology - Dec 1972 - 14
Theatre Design & Technology - Dec 1972 - 15
Theatre Design & Technology - Dec 1972 - 16
Theatre Design & Technology - Dec 1972 - 17
Theatre Design & Technology - Dec 1972 - 18
Theatre Design & Technology - Dec 1972 - 19
Theatre Design & Technology - Dec 1972 - 20
Theatre Design & Technology - Dec 1972 - 21
Theatre Design & Technology - Dec 1972 - 22
Theatre Design & Technology - Dec 1972 - 23
Theatre Design & Technology - Dec 1972 - 24
Theatre Design & Technology - Dec 1972 - 25
Theatre Design & Technology - Dec 1972 - 26
Theatre Design & Technology - Dec 1972 - 27
Theatre Design & Technology - Dec 1972 - 28
Theatre Design & Technology - Dec 1972 - 29
Theatre Design & Technology - Dec 1972 - 30
Theatre Design & Technology - Dec 1972 - 31
Theatre Design & Technology - Dec 1972 - 32
Theatre Design & Technology - Dec 1972 - 33
Theatre Design & Technology - Dec 1972 - 34
Theatre Design & Technology - Dec 1972 - 35
Theatre Design & Technology - Dec 1972 - 36
Theatre Design & Technology - Dec 1972 - 37
Theatre Design & Technology - Dec 1972 - 38
Theatre Design & Technology - Dec 1972 - 39
Theatre Design & Technology - Dec 1972 - 40
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