Theatre Design & Technology - Spring 1978 - 25

lems from it whatsoever was a great help-we could just strap
AC cables allover the mike tables. All of the audio lines and
mike lines were completely balanced. And mixing it was easy
because the movement was so slow that you had hours to do
anything."
The entire system weighed four tons and it took thirty-two
crates to transport it. Unlike the scenery, it was packaged
carefully and safely. "It held up very well," says Beverly Emmons. "What was wonderful was watching the crews in Europe as these boxes came in-huge, beautifully made crates.
They opened them up, and all the tools were set in styrofoam
to fit perfectly. It was just a magnificence of packaging. And
the equipment itself-European crews just don't see so much
electronic gear in the course of their lives!" About twenty-five
percent of the equipment was spare parts, in case of failures.
Most of the spares, however, were never needed.
The only big problem with the sound system was getting it
built on time. "We had to build the whole thing in ten weeks,"
recalls Munkacsi, "and if you're in the audio business you
know that getting parts is incredibly difficult. We spent most
of our time on the phone, having stuff airfreighted to North
Carolina from everywhere in the country. A lot of times the
manufacturers don't have stock items on hand. They make a
run of two dozen every six months, so we had to convince a
lot of manufacturers to make them for us in two weeks." Once
the parts were assembled, the system was actually constructed by a company in North Carolina called Stage and
Studio Construction.

The Met
The company was having trouble finding a theatre in New
York when the possibility arose that they might perform Einstein at the Metropolitan Opera House. By that time, the show
was in the middle of its European tour, and it was booked
without any of the Met's brass having seen it. The biggest
Act I, Scene 2

question mark was time-it had taken at least three full days
to set it up in each theatre in Europe, while at the Met there
would be less than twenty-four hours. Determined not to
make the same mistakes they had made in Europe, the company hired Gilbert Hemsley to oversee the move into the Met.
He had brought in several European groups, including the
Stuttgart Ballet and the Bolshoi Opera, and was familiar with
the theatre's systems, which are complex. "The Metropolitan
Opera is in fact an advanced reproduction of a German opera
house," says Beverly Emmons. "It doesn't reflect the average
in American technology, although it uses American equipment. Conceptually. it's organized like a German opera
house." There is no patch panel. It has 219 dimmers that are
all directly and permanently wired to a plug located somewhere backstage-each has a name, rather than a number.
"You're talking about the bunch white on the OP side," adds
Emmons, "or the torms green. The locations are named-the
torms, the bunches, the crosses-and then at that location
you have red, green, white and blue, which don't correspond
to anything-those are just names on the plugs. They are also
separated 'prompt' and 'opposite prompt' (stage left and
stage right for civilians) and what that really means is that
those are two separate dimmers, but they work together
back at the dimmer room unless you specify otherwise." This
makes it extremely complicated to work there unless you
already know the system. "I didn't know what made it complicated," recalls Emmons, "but I knew, 'Dangerous! Get the
guys with the secret before we walk in the door.' " Gilbert
Hemsley had the secret, so he was the one who organized the
mounting of the performance.
Before moving in, they put all the plans for the show on
paper. They made up books from pictures of the model,
showing move by move and scene by scene everything that
happened in the show from beginning to end. On the reverse
side of each picture they made a sketch of approximately
where onstage each element was to be placed. Beverly EmPhoto: Ted Shank



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1978

Contents
Theatre Design & Technology - Spring 1978 - 1
Theatre Design & Technology - Spring 1978 - 2
Theatre Design & Technology - Spring 1978 - 3
Theatre Design & Technology - Spring 1978 - Contents
Theatre Design & Technology - Spring 1978 - 5
Theatre Design & Technology - Spring 1978 - 6
Theatre Design & Technology - Spring 1978 - 7
Theatre Design & Technology - Spring 1978 - 8
Theatre Design & Technology - Spring 1978 - 9
Theatre Design & Technology - Spring 1978 - 10
Theatre Design & Technology - Spring 1978 - 11
Theatre Design & Technology - Spring 1978 - 12
Theatre Design & Technology - Spring 1978 - 13
Theatre Design & Technology - Spring 1978 - 14
Theatre Design & Technology - Spring 1978 - 15
Theatre Design & Technology - Spring 1978 - 16
Theatre Design & Technology - Spring 1978 - 17
Theatre Design & Technology - Spring 1978 - 18
Theatre Design & Technology - Spring 1978 - 19
Theatre Design & Technology - Spring 1978 - 20
Theatre Design & Technology - Spring 1978 - 21
Theatre Design & Technology - Spring 1978 - 22
Theatre Design & Technology - Spring 1978 - 23
Theatre Design & Technology - Spring 1978 - 24
Theatre Design & Technology - Spring 1978 - 25
Theatre Design & Technology - Spring 1978 - 26
Theatre Design & Technology - Spring 1978 - 27
Theatre Design & Technology - Spring 1978 - 28
Theatre Design & Technology - Spring 1978 - 29
Theatre Design & Technology - Spring 1978 - 30
Theatre Design & Technology - Spring 1978 - 31
Theatre Design & Technology - Spring 1978 - 32
Theatre Design & Technology - Spring 1978 - 33
Theatre Design & Technology - Spring 1978 - 34
Theatre Design & Technology - Spring 1978 - 35
Theatre Design & Technology - Spring 1978 - 36
Theatre Design & Technology - Spring 1978 - 37
Theatre Design & Technology - Spring 1978 - 38
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Theatre Design & Technology - Spring 1978 - 40
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