Theatre Design & Technology - May 1968 - 15

for replacement spares or rearrange the loft blocks. For example, we found that we do have extra spot lines which
can be used for circular cycs. Our operators, John Rothschild,
John Besrich and Howie Stein, can bring the circular cyc
down with one handle, exactly to its mark.
Each pipe has a capacity of 1,000 pounds, or about 400
pounds more than in the old opera house. We had 10 double
up more pipes with counterweights in the old opera house.
Between each cable there is an allowable deflection for up
to 500 pounds. We have learned from experience how to
maneuver the pipe system. We don't deny that it could be
improved farther, but for the first of its kind. it has been a
wonderful job.
There was a lot to be learned in this whole project. For
instance, when the armature of the motor was first developed for the 1,000-pound system, with the armature going that slow, there was a considerable engineering problem.
The people who made the mOlOr stripped eight armatures.
These blew up because even though they were engineered
to do the job, they failed in use tests.
I would say that this system, as far as my men and I are
concerned, is advanced as we have found that we can
use. I am very proud of it. The layout is very good, and it
does our job nicely.

DISCUSSION: ED PETERSON: Do you think thirty control
channels are enough, based on your experience 7 Would you
put in more spot lines?

Side View of Head Block and Drum (Photo Jay Keene)

MR. KUNTNER: My original plan was to have all 109 pipes
operate individually. This all looks very nice on paper. Mr.
Birkle can tell you beller how much this costs, and you can
see the switchboard size. We studied the cost and how
much room it would take. It wasn't as easy as Mr. Birkle
says to put that switchboard where it is, but that is where I
wanted it. It took construction changes to put it there.
In the first place, one needs the room. There is a problem
in the amount of space across the proscenium. I came to
the conclusion that this was the best place.
It is also a very important requirement for the man who
works the switchboard 10 reach everything located on it
quickly. Any switchboard, even our board in the back, is
big. You must be able to move, within one second, 10
something you want to operate. If you must move three or
four feet, you may be just a second too late. Because this
is an opera house, everything moves by music. We have
many tremendous changes. Our scenic designers and directors now real ize we can use this equ ipment, so they
make each opera as complicated as they possibly can. They
make scenery changes now, which, between the wagons and
flown scenery, we never before dreamed were possible in
front of an audience.
The usual argument against an automatic fly system is
that it won't do the job: a man has to feel the rope in his
hands to control the pipe. My favorite reply was usually that
I remember in Tannhauser when a drop came in a blackout

Winch Motor and Drum (Photo Jay Keene)



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1968

Contents
Theatre Design & Technology - May 1968 - 1
Theatre Design & Technology - May 1968 - 2
Theatre Design & Technology - May 1968 - 3
Theatre Design & Technology - May 1968 - Contents
Theatre Design & Technology - May 1968 - 5
Theatre Design & Technology - May 1968 - 6
Theatre Design & Technology - May 1968 - 7
Theatre Design & Technology - May 1968 - 8
Theatre Design & Technology - May 1968 - 9
Theatre Design & Technology - May 1968 - 10
Theatre Design & Technology - May 1968 - 11
Theatre Design & Technology - May 1968 - 12
Theatre Design & Technology - May 1968 - 13
Theatre Design & Technology - May 1968 - 14
Theatre Design & Technology - May 1968 - 15
Theatre Design & Technology - May 1968 - 16
Theatre Design & Technology - May 1968 - 17
Theatre Design & Technology - May 1968 - 18
Theatre Design & Technology - May 1968 - 19
Theatre Design & Technology - May 1968 - 20
Theatre Design & Technology - May 1968 - 21
Theatre Design & Technology - May 1968 - 22
Theatre Design & Technology - May 1968 - 23
Theatre Design & Technology - May 1968 - 24
Theatre Design & Technology - May 1968 - 25
Theatre Design & Technology - May 1968 - 26
Theatre Design & Technology - May 1968 - 27
Theatre Design & Technology - May 1968 - 28
Theatre Design & Technology - May 1968 - 29
Theatre Design & Technology - May 1968 - 30
Theatre Design & Technology - May 1968 - 31
Theatre Design & Technology - May 1968 - 32
Theatre Design & Technology - May 1968 - 33
Theatre Design & Technology - May 1968 - 34
Theatre Design & Technology - May 1968 - 35
Theatre Design & Technology - May 1968 - 36
Theatre Design & Technology - May 1968 - 37
Theatre Design & Technology - May 1968 - 38
Theatre Design & Technology - May 1968 - 39
Theatre Design & Technology - May 1968 - 40
Theatre Design & Technology - May 1968 - 41
Theatre Design & Technology - May 1968 - 42
Theatre Design & Technology - May 1968 - 43
Theatre Design & Technology - May 1968 - 44
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