Theatre Design & Technology - Winter 1982 - 15

developed a master plan for Swarthmore
College which positioned music, performing, and visual arts between the academic buildings, thereby recognizing the
integral value of the arts in a liberal arts
education. The Music Building sits on
the edge of a woods that slopes away
steeply from the campus, allowing the
placement of the Concert Hall into the

Three physical problems had to be
solved for the Rolling Stones 1975 Tour
of the Americas. It had to be on a mammoth scale, it had to be sophisticated
visually, and every day the whole rig including stage, electrical control equipment, lighting, sound and six tons of
mounting structures had to be
disassembled, trucked to a new city and
set up again, all in twenty hours.
The entire rig is designed to minimize
set-up time. The lighting truss is the first
thing to be remo\'ed from the trucks on
the morning of each performance. The
truss sections are already hung with the
lighting instruments and are fitted with
casters. They roll to their positions and

hillside and preventing the intrusion of
its mass upon the campus.
The building will share its public
facilities: lobbies, lounges, and rest
rooms with the adjacent projected
Drama/Workshop Building, Exhibition
space now in the lobby will eventually
move into the Visual Arts Building. The
Lobby/Exhibition area, oriented to the

campus, is separated from the Concert
Hall by a central service core and is open
to the Choral Rehearsal Room, the open
stack library, offices, classrooms, and
practice rooms. It acts as a point of
reference to these areas from the
entrance.

Rolling Stones
Tour of the Americas 1975
Producer:
Sir Productions, Pete Rudge
Production Supervisor:
Jules Fisher Associates
Lighting Design:
Jules Fisher, wi th John Tedesco
Scenery Design:
Robin Wagner
Sound Design:
Gene Claire
Lighting Equipment:
Tom Field Associates
Scenery Construction:
Feller Scenic Studios
Sound Equipment:
Claire Brothers
Photography:
Ken Reagan of Camera 5

are bolted together. The queen posts,
tension ring and portable hoists are
added and attached to six hoisting cables
which have been installed previously by
an advance crew. Multi-conductor electrical cables are plugged into the
prewired truss sections. Finally, the
truss hoists itself to its working position.
This clears the floor after a few hours
for the erection of the stage and sound
equipment below. The electrical work is
completed in the air using the truss sections as catwalks.
Where a longer stay in a large city
such as cw York or Los Angeles made
it possible, additional equipment was used. For these performances four carbon

arc anti-aircraft searchlights were placed
at the sides of the stage to make shafts
of light over the audience, 2000 blue
lamps were strung on garlands over the
entire ceiling, and were programmed to
dim, chase and scintillate in time with
the music. A rotating frame carrying
twenty scenic projectors was hung at the
center of the auditorium to project giant
flying eagles on the ceiling and spectators. A special hydraulic stage was
constructed in the same shape as the
normal touring stage, but with moveable
petals and clear acrylic strips on the
floor co\'ering continuous red and blue
neon tubes around the perimeter.

USITT \\'inlcr 1982 Theatre Design & Technology

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1982