Theatre Design & Technology - Oct 1967 - 42

GARY GAISER: Will you speak on the safety factors involved in the
width of the row?
SCHLANGER: Row spacing? That's a good question, It should not be too
big because, for example, if you have a forty-four inch row space, you
will find that in panic somebody will find a few inches between the seat
that is not being used by the person moving forward, push that person
and squeeze through_ Forty inches or thirty-eight inches is far safer than
forty-four inches_ This was a discovery we made.
QUESTION: Does this eliminate continental seating]
SCHLANGER: Not at all. It certainly permits it. It permits any kind of
seating.
QUESTIO
Is there any provision in the code for the non-permanent
seating] The adjustable, adaptable seating?

QUESTION: I realize that. But what if they started towards it?
SCHLANGER: Well, there is a possibility that people might go into these
spaces, that's true_ In other words, they mighl go into that opening and
find themselves among scenery and dressing room corridors and what
not. I must admit that this is not considered in the code as a possible
panic situation.
MODERATOR: There is no proiect in which the aim and purpose of
USITT has been better served than by the Committee appointed by the
President of the Institute to assisl the writers of the revision of the New
York City Building Code. I would hope that someone at lhis meeting
would move formal commendation of that USITT committee and its chair·
man, C. Ray Smith. Do I hear such a motion]
FLOOR: So made.
FLOOR: Second.

SCHLANGER: Loose seating, unattached, is permitted.
QUESTION: How would you define the theatre then? Say it has other
uses such as meeting rooms, like the one we are meeting in now,
that might also have performances as in a theatre?
SCHLANGER: Every way that you use an auditorium lhat has seating,
the architect has to submit the seating plan. Permanent loose seating or
fixed seating and any various seating arrangements that you hope to use
have to be approved and posted in the manager's office. In other words,
you cannot arbitrarily set up the seats any way you please. They must
be set up according to an approved plan. But many plans can be used.

MODERATOR: Is there any discussion? All in favor?
FLOOR: Aye
MODERATOR: Mr. Sm'th, would you stand up so that everyone can identify you]
FLOOR: Applause
MODERATOR: If there are no further questions, I would like to thank
Mr. Schlanger, Commissioner Ferro, Commissioner Benline, Mr. Stedfasl
and Mr. Correale for an interesting and provocative panel.

QUESTION: Is there a provision yel for a swivel chair?
SCHLANGER: There is no provision against it. I would say you could use
a swivel chair, if you wanted to.
QUESTION: What about a situation where there are exits for the audience
by entering onto the stage? Should they become a way for the audience
to egress in panic? There is scenery, other properties and implements
which would be stacked in those exits.
SCHLANGER: Well, any vomitory that's used for actor entrances, where
there is apt to be any scenery stacked, would not be a legal exit.
QUESTION: Well, in the case of panic what if the audience might go
towards an exit that comes from dressing rooms and from prop space
rooms?
SCHLANGER: Yes_ But that space would not be accredited as an exit.

1. For further details on the architectural conversions being made on the
building see New York Shakespeare Public Theatre, a booklet available
from the Festival at 425 Lafayette Street,
ew York, N.Y. 10003.
2. Other cost details provided by Director Papp are as follows: For two
theatres, 300 seats each, at $6.00 per seat ($2.50 charge and $3.50
subsidy); one theatre, also intimate is free to the public, 8 plays per year
at $50,000.00 per production for a total of $400,000.00 per year.
Maintenance and upkeep of the building is $100,000.00 per year; administrative costs, $ 100,000.00; and the original cost of the building
and remodeling is cited above at $3,000,000_00.
3. Since then, Mr. Kaming, who has been retained as counsel to the
Committee on Buildings for the NYC Building Code, has the following reassurance to add, "As of this stage of the hearings, no substantial objections have been raised to modify the theatre provisions."

PUBLIC THEATRE
New home of the New York Shakespeare Festival
Joseph Papp

All photographs, Berhard R. Works
SKETCHES, NEW YORK SHAKESPEARE FESTIVAL
PU BUC THEATRE

Balcony, Controls, Grid

Artificially lighted skylight

I USITT i iHEAiRE DESIGN AND TECHNOLOGY

Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1967