Theatre Design & Technology - Winter 1981 - 29

-

.......

,
/

/

<'".

/

"
a

8' x 27', Downstage of this space are two lifts (Dover Elevator
Co.), one 9' x 27' directly in front of the trapped area which can
be raised to stage level or lowered 3' to house level; and a
second pit lift, trapezoidal in shape, which can be raised to
house level or lowered to the trap room 12' below to transport
scenery and actors. In front of these two lifts is a 6' x 12'
removable "moat" unit which extends to the first row of seats.
Additional staging variations can be obtained by the use of ten
scenic towers, 24' high with a 10' face. Any combination of the
movable towers may be used to modify the performance area
and are also equipped to provide additional side and back
lighting positions if needed. The fly system is composed of fortyone lines for lights, scenery, and masking. These lines, which
operate via a mechanical counterweight system from stage
level, are underhung from I beams 42' above the deck and are
accessible from four motorized light bridges which rise from
stage level to a height of 34'.

Lights
The new theatre has four house beam positions for lights,
sound, and projections. There is also a projection and follow
spot cove located in the ceiling at the rear of the house and a
rear projection sound and lighting slot in the upstage center wall.
Additional side and back lighting positions are located on the
side stages and in the scenic towers as mentioned, The lighting
system for the theatre is Strand Century's Light Palette, a new
dimmer per circuit memory system which will be set to handle
200 dimmers on 416 circuits with full capacity of cues in
memory, manual override, back up memory, and the ability to
handle multi-faceted cues, non-linear fades, and electronic
patching at the console, This system will operate in conjunction
with Strand Century's digital dimming systems CD 80 Series.
Most of the lighting instruments for the theatre will be moved
from the Festival Stage and additional instruments will be
purchased as needed.
USITTlWinler, 1981

--

Support Facilities
The design of the new Old Globe has included far-reaching
plans to eventually reallocate space in the present administration building and unify the entire complex. In addition to the
stage and house features, new dressing rooms for fifty-two
actors have been included on the lower level. Former dressing
rooms in the administration building will be converted into
individual office space, A new green room, centrally located
between the Carter and the new theatre, has kitchen facilities
and an enclosed patio in back. A new and larger scene shop has
been added, (During the construction period the shop temporarily relocated to a space in National City, some ten miles away,) A
new costume shop was the first area to be completed (April
1980) and provided over twice the space of the original. It
includes areas for cobblery, crafts, millinery, wigs, and dyeing (a
plan change from the original design, it is located alongside the
wig room). The planned costume storage area has been cut in
half so the property area could include a spray booth. Future
plans, not yet underway, include reorganization of the upper
level space to include design offices (currently a prop work area)
and an acting studio (currently used for costume storage). Ticket
sales and subscription areas have also not yet expanded.
The new Old Globe Theatre will be a showcase for theatre in
San Diego, During the height of the season with all three
theatres in production over 1200 patrons will be in daily attendance. With Executive Producer, Craig Noel, and new Artistic
Director, Jack O'Brien, at its helm the Simon Edison Center for
the Performing Arts will initiate a new era of artistic achievement
in theatre for San Diego and the country. Generous community
and national support and the untiring efforts of designers, staff,
and construction crew have given the Old Globe Theatre the
opportunity and ability to become the very best that it can be: A
union of theatre tradition and new technology and, more importantly, a symbol of renewed life and energy for the American
Theatre. 0
Theatre Design & Technology 27



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1981

Contents
Theatre Design & Technology - Winter 1981 - 1
Theatre Design & Technology - Winter 1981 - 2
Theatre Design & Technology - Winter 1981 - 3
Theatre Design & Technology - Winter 1981 - Contents
Theatre Design & Technology - Winter 1981 - 5
Theatre Design & Technology - Winter 1981 - 6
Theatre Design & Technology - Winter 1981 - 7
Theatre Design & Technology - Winter 1981 - 8
Theatre Design & Technology - Winter 1981 - 9
Theatre Design & Technology - Winter 1981 - 10
Theatre Design & Technology - Winter 1981 - 11
Theatre Design & Technology - Winter 1981 - 12
Theatre Design & Technology - Winter 1981 - 13
Theatre Design & Technology - Winter 1981 - 14
Theatre Design & Technology - Winter 1981 - 15
Theatre Design & Technology - Winter 1981 - 16
Theatre Design & Technology - Winter 1981 - 17
Theatre Design & Technology - Winter 1981 - 18
Theatre Design & Technology - Winter 1981 - 19
Theatre Design & Technology - Winter 1981 - 20
Theatre Design & Technology - Winter 1981 - 21
Theatre Design & Technology - Winter 1981 - 22
Theatre Design & Technology - Winter 1981 - 23
Theatre Design & Technology - Winter 1981 - 24
Theatre Design & Technology - Winter 1981 - 25
Theatre Design & Technology - Winter 1981 - 26
Theatre Design & Technology - Winter 1981 - 27
Theatre Design & Technology - Winter 1981 - 28
Theatre Design & Technology - Winter 1981 - 29
Theatre Design & Technology - Winter 1981 - 30
Theatre Design & Technology - Winter 1981 - 31
Theatre Design & Technology - Winter 1981 - 32
Theatre Design & Technology - Winter 1981 - 33
Theatre Design & Technology - Winter 1981 - 34
Theatre Design & Technology - Winter 1981 - 35
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Theatre Design & Technology - Winter 1981 - 37
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Theatre Design & Technology - Winter 1981 - 44
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