Theatre Design & Technology - Spring 1999 - 20

The productions then lIlilized \"arious effects that had been included in the ship'~ entertainment package. :\n example lrould
be the fiber optic effect described in the opening paragraph.
Imagineers included the effect as part of the basic equipment
of the stage. but the people in shOl\" de\"elopment found a way
to work the effect imo a produclion. Script del'elopmem for
Disney \Iagic's productions Il'as completed through an extensi\"e series of lrorkshop experiences. The\" lrorked and relrorked the productions a number of times before they an'il'ed
at the scripts that are currently being presented on the cruises.
ShOl\" de\"elopers also made an attempt to use onl\" a select
handful of the a\"ailable effects for any gi\"en production. This
allOl\"s each effecl to have a maximum impacl on the audience.
The fiber optic surround is used only in Disney Dreallls-to
use it more would lessen its effect.
The safetl' of the cast and crew was a major consideration
for the theatrical systems designers and engineers. Sholl' control systems are omnipresem, running every1hing [rom moving
scenel~' to pyro effects, but live technicians are responsible for
veri~'ing that certain safety conditions are met before acti\"ation of an\" automated effect. An example is in the trap room
I\"here a technician must l~sualJy veri~' that a lift is loaded COl'
rectly with cast and props before activating a sl\"itch that will
permit the lift to be set imo mOlion. Virtually all lift and trap
mo\"ements require "spotters" with an enable button.
Disney Imagineering took care of all the infrastructure
and design specifications for both Disney Magic's theatrical
and non-theatrical systems. Greg Dauberger and Bob Tracht
Il'ere responsible for the entertainment system design and
specification on Disney Magic. (They are noll' working on the
next ship, Disney Wonder.) Their job was to coordinate the
ship's architects and interior consultants I\"ith the specialized
theatrical and acoustical consultants. Having Disnev
Imagineers oversee and coordinate all these efforts was vital.
because as Tracht commented, "the entire ship is considered
to be 'on set' and part of the sholl'.'ยท The Texas firm, Walter and
Associates, did most of the design work on the Walt Disney
Theatre, as well as on smaller venues like the Buena Vista Theatre and the Animators Pallet Dining Room. All the design
plans were given to the ship's architect, Yran and Storbratton,
Il'ho converted them imo "ship documents." The entertainmem s\"stems I\"ere built and installed by Glantre Engineering
of London while Fincantieri of lIaly pro\"ided the aClllal construction and shipyard for the ship. "Maritime or marine construction has a different set of rules." said senior shOl\"
producer ~Iatt Cono\"er. "but II'e 1I~' to apply and incorporate
as much of our shore side learning to the ship as make sense.
There are restrictions on land that can't be applied to a shipfor example, on land \"ou must ha\"e a three foot clearance
around an electrical panel, which if applied to a ship lrould
result in the emire ship being about electrical closets."

A FULL-BLOW THEATRE FACILITY
The heart of the Disnev cruise experience is the entertainment
venues throughout the ship, the largest of which is the Walt
Disney Theatre. "This is not a sholl' lounge or a showroom,"
18

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said Cono\"er. "the Walt Disney Theatre is a full-blolrI1 theatre
facilit\"." lI's a q---seat proscenium house that. I\"hen you
count the trap room and the ny space, extends through fil'e
decks of the ship. and stretches across nearll' the emire I'essel
from port to starboard sides. Electrical pOl\"er on a ship is tYVicaliI' no 1'0 Its. On Disnel' ~Iagic. there are llro pOll'er distribution sl'stems. The architectural lighting. Il'hich is comrolled
by Strand architectural dimmers. is all nO-l'olts, while the entertainmemlighting sl'stems are run from 120-mlt ETC Sensor
dimmers. The decision to go I\"ith dual I'oltages Il'as made
partly to facilitate getting equipmem and sen'ice from local
I'endors near the Port Canal'eral terminal. The pOll'er generators in the engine room are reliable (and can prOVide enough
electricity to power all of Walt Disney World) but just for an
extra measure of safety, surge protection and emergency
power supply systems are used extensil'ely. In addition, all
critical sholl' sl'stems hal'e built-in redundancy: there are 111'0
ETC Obsession II lighting consoles, 111'0 AKAI DR 16 audio plal'back units, and tll'O automation processors running the shOll'
control systems. All have backup pOl\"er supplies.
Storage space is especialll' tight. ConOler idemified the
fact that lirtualll' el'el~' decision on use of space and eqUipment location bears consequences and tradeoffs that must be
considered throughout the design phase of anI' production
project. Behind the upstage wall is a projection/storage bay
which at an\" gi\"en time holds most of the scenel~' and props
for tim of the three productions. In addition to scenel~' this
area houses 111'0 Pani projectors, a lVC lideo projection system, and a ten-watt laser. The Pani projectors are equipped
I\"ith slide changers that each hold thirty-two slides. AU of this
eqUipment is DMX comrollable. In fact, there are DM.X control
panels located throughout the emire facility.
Another special concern while planning the Walt Disney
Theatre involved insulating the theatre acoustically. This required shielding the theatre from not onl\" general ship noise
and vibration (such as engine rumble) but also from the other
entertainment venues. In fact, acousticalll' insulating the theatre from Beat Street, the adult entertainment part of the ship
located directly below the audience, mlS aCluallv a larger issue
than the engine sounds. Special measures I\"ere made in the
construction of the lrall and deck sections to prOlide additional acoustic insulation to the theatre facilill".
Equipmem rooms include 111'0 compartments for light
and dimming control. an audio/amp room. and a compartment that houses all the sholl' comrol equipment. Additionall\".
there are traditional support areas such as a comrol booth.
trap room, and Il'ardrobe/dressing rooms throughout the
backstage areas. :\dditional racks of shOll' control equipment.
h\"draulic pumps for the lifts. and other equipmem are housed
in the trap room.
"One of the biggest Ispace I c1mllenges on a ship," said
Tracht, "is determining just what is hidden in the ceiling above
a given deck. In a traditional theatre we have fell' considerations II'hen mounting equipment in Ihe ceilings-\"ou just put
it there. The ceiling on a ship, hOll'ever, is jammed full of all
sorts of equipment, conduits, pipes, and duct work which
makes the addition of theatrical equipmem difficult."



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1999

Contents
Theatre Design & Technology - Spring 1999 - 1
Theatre Design & Technology - Spring 1999 - 2
Theatre Design & Technology - Spring 1999 - 3
Theatre Design & Technology - Spring 1999 - Contents
Theatre Design & Technology - Spring 1999 - 5
Theatre Design & Technology - Spring 1999 - 6
Theatre Design & Technology - Spring 1999 - 7
Theatre Design & Technology - Spring 1999 - 8
Theatre Design & Technology - Spring 1999 - 9
Theatre Design & Technology - Spring 1999 - 10
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Theatre Design & Technology - Spring 1999 - 12
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Theatre Design & Technology - Spring 1999 - 18
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1979fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1979summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1979spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1978winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1978fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1978summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1978spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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