Theatre Design & Technology - Summer 2006 - 56

This reduction in lobby space also had an acoustical impact when some of the intended materials were changed. For
example, the main lobby floor, which was to be covered entirely with carpet, became much noisier when the more durable
stone material was substituted. Dave Conant from McKay Conant
Brook Acoustics and AV Design said he often has to deal with this
situation but doesn't feel that it's much of a problem because
"lobby buzz" before the show and during intermission can
create a positive sense of expectation and excitement. He
added, "The more people crowd closely into reverberant
spaces, the more efficient sound absorbers they become. This
somewhat ameliorates the potentially adverse effects."
The Mesa Arts Center claims that over 650 different artis-

TOM AND JANET IKEDA THEATER

tic endeavors can be produced in this complex during the
course of a year. This ambitious schedule relies somewhat on
the patronage of art lovers from the surrounding metropolitan
areas. Randy Vogel, the performing arts administrator, acknowledged that over half of its patrons come from places like
Tempe, Scottsdale, and Phoenix. "We all wanted Mesa to become a destination," he said, "and it's now happening."
In a multi-venue facility with a variety of performing
groups, the needs of the technical staff, which consists of a mix
of full-time, part-time, seasonal, and over-hires, were essential. A two-story arrangement of back stage support spaces
centralizes crew facilities, dressing rooms, and load-in areas,
which allows resources to be shared easily and efficiently.

THE THEATERS
The 212,755 square-foot-facility houses four venues including
the 1582-seat Tom and Janet Ikeda Theater, the 533-seat Virginia G. Piper Repertory Theater, the 200-seat Nesbitt/Elliott
Playhouse, and the 150-seat Farnsworth Studio Theater. Interestingly, three of the four theaters are traditional proscenium
houses. The design team felt that the proscenium configuration would provide the best technical advantages to the widest
variety of performing groups-dance, theater, musicals, touring, etc. That being said, the forestage areas were designed
with as much flexibility as possible to accommodate individual
styles of production. Another interesting note is that there are
no traps in any of the stages. The design team felt they were
inapproptiate in the Ikeda Theatre and budgetary limits ruled
them out in the other spaces.

TOM AND JANET IKEDA THEATER
The venue is set up to accommodate a large variety of touring
productions including symphony, dance, musical theater,
drama, film, and lectures. The proscenium opening is 55 feet
wide and 32 feet high, offering excellent sightlines from the
orchestra/parterre level, two balconies, side galleries and
boxes. The stage floor is constructed with quarter-sawn pine to
provide a resilient surface for dance yet be strong enough for
heavy scenic loads. The technical positions are worked into
the architecture so not to be obtrusive. To handle the variety of
production types, the space was designed with motorized,
computer-controlled, variable acoustics. To further enhance
orchestral events, the space is equipped with a flexible orchestra shell with a motorized proscenium reflector.
The venue systems were designed for a wide variety of
performances. The building can support scenic loads over the
stage and audience chamber. The HVAC was designed for near
silence. The pathway backstage allows for excellent access and
communication between areas. Also, the electrical system provides for company switches and isolated grounds for video and
audio.
Rigging in the 92-foot fly tower consists of 55 counterweight linesets with 72′-0″-long battens with seven pick lines
each. The linesets have a load compensating system for
smooth operation. Loading the rail happens on one of two
THEATRE
SUMMER

2006

DESIGN

TECHNOLOGY

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2006