Theatre Design & Technology - Fall 1991 - 70

*********************

Editor:

not need to be distracted by the intricacies
of an audio sysrem or a coffee machine,
when he is trying to portray a character in a
I've just had to take a couple of days in a
situation, not his virtuosity with levers and
darkened room to recover from my
apoplexy. I read Charlie Richmond's article
cogs.
"Canned" entertainment does not only
"Automated Redundancy (Through Reduncome out of a TV tube-aspidam Automation)" (TD&T
Winter 1991), in the March
rations like those expressed by
you (and by others in other
1991 issue of ABTT News (is
technical magazines) we are in
this technology getting
READERS' RESPONSE
great danger of "canning" the
ahead of itself or what?). I'm
performances of live actors in
sorry, I just cannot let yet
another article in this vein
technological strait-jackets.
Also I'm tired of people misgo unrefuted.
First, the premise that "automation is
understanding the use of stage managers.
that all this new-fangled technology in the
best" has to be the daftest extrapolation of theatre is so safe, reliable and COSt effective. I
Kevin E. Mullery
write as one who has had to push many a
the use of technology in the theatre. The
Twickenham, England
Orwell-style picture of a Central Controller
heavy stage truck against the resistance of a
is frightening-at least you did admit, albeit
dead morot. I agree that the existence of
Richmond responds: Mr. Mullery brings up
briefly, that live performances can't ever do
fancy technology has made producers and
without live technical supervision and
directors more ambitious-but often they
some imeresting points while exhibiting a degree 0/
paranoia whicb, as I had said in my original artiover-reach themselves (especially financialexpertise-phew! I thought at one point we
were about to be introduced to a Central
ly) and then have to skimp on other areascle, would certainly be a common response. To be
Conttol Computer called HAl. (Or do we
pir, since he wrote this letter I have spoken with
such as the expertise to manage the producstill wait 10 years for that?)
Mr. Mullery and his attitude has been tempered
tion safely. either am I sure that the stories
I have to address your question about
I hear from Disneyland and Universal indisomewhat by time-thank goodness for both o/us.
the difference between a Stage Manager givHe said he lookedforward to my reply (which will
cate that technology-driven "live" shows do
"run without hiccup thousands of times".
ing the GO cue to an Lx Op who executes
appear in a SlIbsequent Sound Column,) and I
There can be no substitute for a properly
it, and the SM executing the cue. The difsaid I wasjust glad to finally get a letter in response
to my increasingly radical writing!
ference is that in the first instance there is
trained and motivated stage manager, with a
someone free to sort out the ptoblem when
team of thinking people.
Editor:
the computer goes wrong or a bulb blows.
Now I come to the quoted introduction
The SM is left in contact with the show, free
to Mr. Huntington's master's thesis. 'Talking to people on headsets"! "Following the
to follow the show and able to formulate
I would like to express my disappointment
alternative plans without the distraction of script on paper'! Those bad old days, eh?
at your use of plastic as a packaging material.
I see no reason to send TD&Tin a non-biosorting out the fault.
I'm sorry to read he is forced to look up
You say you have "always" been bothfrom the 3D video game to see if the actor is
degradable material that can only be ripped
in the right position before "authorizing"
ered by the time-lapse on technical cues in
off and thrown away. I strongly believe it is
the theatre. You suggest that a light switch
the responsibility of every citizen of earth to
the cue-perhaps the actor could authorize
could be connected (via an "authorize" cirit himself with a radio button in his cuff care for our home. There has long been an
link? I'm sure it's a pity that the Wardrobe
attitude in technical theatre that we are
cuit) to-to what? To the Lx Ops big toe?
Department "haven't got their robotics costsomehow exempt from this responsibility.
(Who warns him to stop playing cards and
look?) So, now, the actor must still hover for
effective yet." I really look forward to the
But we can and need to make a difference.
a few seconds after the loud click while the
day when I can press a button to "authorize"
Please either Stop using plastic or stop sending me TD&T I enjoy the magazine very
cue is authorized and the Lx Op responds. I
the Quick Change Robots to strip and redon't know what happens when rhe next
much so I hope you choose the former!
dress 16 dancers for the Finale.
scene is not following the last in direct time
Seriously, though, the underlying missequence and our switch is now in the
Tor M. Kingdon
take you, and other contributors to techniwrong position. Might I suggest you go and
Kalamazoo,MI
cal magazines, seem to make is that you
thing theatre is Real. It is nor. Theatre is
see shows that have paid properly for an
make-believe. Theatre is selectively holding
We appreciate your concern-which is shared my
experienced stage manager who can easily
up a mirror to life-it is not real life. The
/IIany others-and asSlire you that we are currently
anticipate the cue to allow for operator reacactor who, in his own home may be capable
exploring tbe practical and financial implications
tion time? I also think the majority of Stage
of many complicated technical things, does
o/addressing tbis situation.
Managers mighr rightly feel indignant ar
this slur on us over one of the simplest manifestations of our working art. Of course, it
does help if the SM can see the light switch.
(Don't they teach designers things like that
anymore?)
Next, I'm not so sure you could prove

m

68

1991 FAll

TD&T



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1991

Contents
Theatre Design & Technology - Fall 1991 - 1
Theatre Design & Technology - Fall 1991 - 2
Theatre Design & Technology - Fall 1991 - 3
Theatre Design & Technology - Fall 1991 - Contents
Theatre Design & Technology - Fall 1991 - 5
Theatre Design & Technology - Fall 1991 - 6
Theatre Design & Technology - Fall 1991 - 7
Theatre Design & Technology - Fall 1991 - 8
Theatre Design & Technology - Fall 1991 - 9
Theatre Design & Technology - Fall 1991 - 10
Theatre Design & Technology - Fall 1991 - 11
Theatre Design & Technology - Fall 1991 - 12
Theatre Design & Technology - Fall 1991 - 13
Theatre Design & Technology - Fall 1991 - 14
Theatre Design & Technology - Fall 1991 - 15
Theatre Design & Technology - Fall 1991 - 16
Theatre Design & Technology - Fall 1991 - 17
Theatre Design & Technology - Fall 1991 - 18
Theatre Design & Technology - Fall 1991 - 19
Theatre Design & Technology - Fall 1991 - 20
Theatre Design & Technology - Fall 1991 - 21
Theatre Design & Technology - Fall 1991 - 22
Theatre Design & Technology - Fall 1991 - 23
Theatre Design & Technology - Fall 1991 - 24
Theatre Design & Technology - Fall 1991 - 25
Theatre Design & Technology - Fall 1991 - 26
Theatre Design & Technology - Fall 1991 - 27
Theatre Design & Technology - Fall 1991 - 28
Theatre Design & Technology - Fall 1991 - 29
Theatre Design & Technology - Fall 1991 - 30
Theatre Design & Technology - Fall 1991 - 31
Theatre Design & Technology - Fall 1991 - 32
Theatre Design & Technology - Fall 1991 - 33
Theatre Design & Technology - Fall 1991 - 34
Theatre Design & Technology - Fall 1991 - 35
Theatre Design & Technology - Fall 1991 - 36
Theatre Design & Technology - Fall 1991 - 37
Theatre Design & Technology - Fall 1991 - 38
Theatre Design & Technology - Fall 1991 - 39
Theatre Design & Technology - Fall 1991 - 40
Theatre Design & Technology - Fall 1991 - 41
Theatre Design & Technology - Fall 1991 - 42
Theatre Design & Technology - Fall 1991 - 43
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Theatre Design & Technology - Fall 1991 - 46
Theatre Design & Technology - Fall 1991 - 47
Theatre Design & Technology - Fall 1991 - 48
Theatre Design & Technology - Fall 1991 - 49
Theatre Design & Technology - Fall 1991 - 50
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Theatre Design & Technology - Fall 1991 - 70
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