Theatre Design & Technology - Spring 1978 - 26

mons added notations concerning the lights, also indicating
which pieces lit up and needed a separate circuit. The sound
crew indicated which pieces included sound equipment. "It
turned out to be a very complicated show along those lines,"
says Emmons, "because there was so much scenery with
sound and electric equipment. Most of the scenery ended up
in the electrics department. They had to be very careful to
figure out how to arrange the call, so that the right men were
doing the right things and there were enough of them to deal
with the various complexities that were involved."
The train in the first scene, for instance, was a painted flat
with wheels, and a little chair in back for the engineer to sit on.
It had a light fixture on the front, a four and a half inch leko
with a cable that had to be paged. It had three different kinds
of fog machines pumping out of different holes, all of which
had separate cables, all of which had to be paged. The whole
thing had to be rolled on and offstage. "It was heavy," adds
Emmons, "and it also had to be moved very slowly, which
makes it even heavier. I think one of the funnier things of that
whole production at the Met was to stand at stage right and

On Saturday, the Met had an afternoon performance of Le
Nozze di Figaro and an evening performance of Lohengrin, so
there was very little time to work on setting up Einstein. But
work began as soon as Lohengrin ended at midnight. By 8:00
the next morning, all of the drops had been hung and the
sound system installed. All that remained was the lighting.
"The Met is magnificent," says Emmons, "because each lighting location has a man in it. Though it doesn't seem like tons
of equipment for such a huge stage, compared to a Broadway
theatre, you can get to them. You can refocus them between
acts. With a Broadway show, if you're going into an area with
a red and a blue and a green, you have to have three lights,
because you can't get near them. At the Met, you can just
change the color and use one light. It's a much more fluid
arrangement. All the men are wonderfully independent. They
take their own notes about where things are focused. When
we went back to the second performance, it was all focused."
At 11 :30 Sunday morning, they were ready to begin a
technical rehearsal. By jumping from cue to cue instead of
rehearsing the entire show, they were able to accomplish that

Photo: Ted Shank

Act I, Scene 1

look at what was going on behind that locomotive. There were
ten or fifteen men all huddled behind there paging cables,
sneaking this and arranging that-it was a scream."
The scenery was packed in two semitrailers, which had
been loaded in Europe and driven onto the boat. When they
arrived at the Met at 9:00 on the Friday morning before
Sunday night's performance, no one had looked at them
since they left Europe. The crew immediately began setting
up the larger pieces, such as the space machine, on a full
stage to the right of the main stage. All of the electric props
went right to the electric shop to be changed to 110 volt fixtures. The crew worked until three in the afternoon, when
they had to begin setting up for that evening's premiere of
Massenet's Esclarmonde. "The guys were fabulous," says
Emmons. "What a fabulous crew! There were seventy men
working on that stage. A show which had never been done in
less than three days was accomplished in eighteen hoursand that includes the five performance hours!"
24

in an afternoon. At 6:30 in the evening, the audience was
admitted to the theatre and the performance began as they
were filing in. The two performances at the Met-the second
was added when the first sold out qUickly-were the most
successful of the run, largely because the Met's stage was the
only one that was large enough and well enough eqUipped to
do justice to the production. 'As it had been in Europe, Einstein on the Beach was acclaimed by the critics.
Because of its complexity, Einstein ran into extraordinary
problems. The fact that it succeeded in spite of them is a
tribute both to Wilson's vision and the tenacity and ingenuity
of his technicians. If large amounts of money continue to find
their way into the hands of avant-garde artists, future productions can expect to encounter similar problems. Eventually,
technicians who work with the avant-garde will undoubtedly
learn to anticipate and deal with them before they become
serious-and in that sense, Einstein on the Beach broke new
ground technically as well as artistically. 0

Theatre Design & Technology

USITT /Spring. 1978



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
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