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LINDA EVANS Editor's Note Misquoting Your Dreams “Whatever you can do or dream you can, begin it. Boldness has genius, power and magic in it. Begin it!” love that quote. You probably know who it’s usually attributed to: Goethe. But what if I were to tell you that was wrong? See, an interesting thing happened as I began to write this column. I wanted to write a paean to dreaming big, but planning carefully. It’s our annual education issue, and school is starting everywhere, and the season was filling me with the relentless optimism and determination that fall usually does, which reminded me of that quote. The problem for most of my life was that I always misread it. The quote ends with “Begin it!”, But for years, I ignored that bit and—somehow—jumbled it up with the Nike slogan, so it ended “Do it!” And thanks to my own fuzzy thinking “Do it!” always meant ALL of it, all at once. But the quote doesn’t say that. It just says, “Begin it!” And it took years for that penny in my brain to drop. All that’s required is a step, as small as you want. In fact, probably the smaller the better. I learned that from Daniel Alexander Jones of Creative Capital in a workshop he gave on Individual Strategic Planning. So I headed into this column fully prepared to write about how I now read that quote. Except, suddenly, even that interpretation of it was wrong! Because, as I researched the phrase to be sure I could cite it correctly, I discovered that the quote isn’t even really from Goethe. It’s from W. H. Murray, and is based on a very loose translation of some lines the Manager speaks in the Prologue in the Theatre from Goethe’s Faust. (Head over to the Goethe Society of North America’s website for the full story http://www.goethesociety.org/ pages/quotescom.html.) And those lines call for action, as opposed to merely talking about things. So here I was back at taking all sorts of furious action. So this fall, as school starts up again and we learn skills to achieve our dreams, and the new theatre season takes the stage, fulfilling the dreams of everyone who has worked on those shows, I’m giving up on that quote, and focusing on something Daniel said in his workshop. A new motto that reflects my propensity to action, but balanced with a need to think things through: “No dream too big. No step too small.” Enjoy the fall! Jacob Coakley jcoakley@stage-directions.com Letters Sand on Stage TheatreFace.com users discuss life on the beach… I am doing the show Hooters, by Ted Tally. It has a beach scene and I wanted to know if anyone had any alternatives to the use of sand. Thanks! Peter Schoenthal You can look at rubber mulch. The companies that sell that stuff often sell other more finely shredded rubber in colors that could pass for sand. BAM Creative Arts Can you give us any other guidelines that you have or want? I’m not familiar with the show or your venue. Perhaps you could use a paint treatment/spatter? There is a texture that you could mix with your paint if you can paint the flooring. David Phillips At Cirque du Soleil’s show KA, we use ground cork for the beach scene. FxDrew Furthermore, the cork we use is naturally fireproof! David Fox Wet sand is hard. Dry sand is dusty. When we had to use sand at UW, we added glycerin and water with watering cans and bow rakes to our sand to keep down the dust. We had the worst of both, hard and dusty. I advise you to avoid real sand. Last time we painted and spattered the flooring, but that went well with the cartoon-y paint style for the comedy we were doing. I would also consider a ground cloth. Chuck Driscoll When we have used sand, I mixed sand with Sculpt or Coat from Sculptural Arts Coating and put a thin layer of the mixture on the “hill” I built. There was no dust and keeps it in place, so need to rake it. Sculpt or Coat is flexible so it didn’t crack. Check out their website—www.sculpturalarts.com. Patrick Reading Have you considered chicken wire with sand colored toilet tissue or fabric pieces inserted into the holes? We did a similar sort of thing with one of our operas. It worked pretty well. Not entirely realistic but enough to get by. Phoebe Hall www.Theatreface.com/join Find tips, tricks, and more on TheatreFace.com. Join today! Theatreface.com/join 4 October 2010 • www.stage-directions.com
Publisher Terry Lowe tlowe@stage-directions.com Editor Jacob Coakley jcoakley@stage-directions.com Lighting & Staging Editor Richard Cadena rcadena@plsn.com New York Editor Bryan Reesman bryan@stage-directions.com Editorial Assistant Victoria Laabs vl@plsn.com Contributing Writers Richard Cadena, Iris Dorbian, Michael S. Eddy, Kevin M. Mitchell, Stephen Peithman, Jason Pritchard, Bryan Reesman, Nick Van Houten Consulting Editor Stephen Peithman ART Art Director Garret Petrov ProduCTion Production Manager Linda Evans levans@stage-directions.com WEB Web Designer Josh Harris ADVERTISING Advertising Director Greg Gallardo gregg@stage-directions.com National Sales Manager Michael Devine md@stage-directions.com Audio Advertising Manager Jeff Donnenwerth jd@stage-directions.com Sales Manager Matt Huber mh@stage-directions.com OPERATioNS General Manager William Vanyo wvanyo@stage-directions.com CIRCULATION Subscription order www.stage-directions.com/subscribe Stark Services P.O. Box 16147 North Hollywood, CA 91615 BUSINESS OFFICE 6000 South Eastern Ave. Suite 14-J Las Vegas, NV 89119 TEL 702.932.5585 FAX 702.932.5584 Stage Directions (ISSN: 1047-1901) Volume 23, Number 10 Published monthly by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119. It is distributed free to qualified individuals in the lighting and staging industries in the United States and Canada. Periodical Postage paid at Las Vegas, NV, office and additional offices. Postmaster please send address changes to: Stage Directions, P.O. Box 16147 North Hollywood, CA 91615. Editorial submissions are encouraged, but must include a self-addressed stamped envelope to be returned. Stage Directions is a Registered Trademark. All Rights Reserved. Duplication, transmission by any method of this publication is strictly prohibited without permission of Stage Directions. 20 A CELEBRAT CELEBRATING SD YEARSS ING OTHER TIMELESS COMMUNICATIONS PUBLICATIONS OF SERVICE TO THEATRE
Page 1: • Dialing Down Feedback by Ringin
Page 8 and 9: In the Greenroom theatre buzz Shaw
Page 10 and 11: Greenroom industry news Exit Theatr
Page 12: Tools of the Trade Chauvet SlimPAR
Page 15 and 16: marketing so we invite our audience
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Page 22 and 23: Light on the Subject 16-bit resolut
Page 24 and 25: Sound Advice | By Jason Pritchard Y
Page 26 and 27: All photography by Carol Rosegg Sou
Page 28: Sound Design What were the biggest
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