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Publisher Terry Lowe tlowe@stage-directions.com Editor Jacob Coakley jcoakley@stage-directions.com Audio Editor Jason Pritchard jpritchard@stage-directions.com Lighting & Staging Editor Richard Cadena rcadena@plsn.com New York Editor Bryan Reesman bryan@stage-directions.com Managing Editor Breanne George bg@stage-directions.com Contributing Writers John Bliss, Tim Cusack, Bret Love, Dave McGinnis, Kevin M. Mitchell, Logan Molyneux, Alex S. Morrison, Lisa Mulcahy, Bryan Reesman, Steve Shelley, Steve Shull, Erik Viker Consulting Editor Stephen Peithman ART Art Director Garret Petrov Graphic Designers Crystal Franklin, David Alan 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 James Leasing jleasing@stage-directions.com Audio Advertising Manager Dan Hernandez dh@stage-directions.com Advertising Sales Associate Leslie Rohrscheib lr@stage-directions.com OPERATIONS General Manager William Vanyo wvanyo@stage-directions.com CIRCULATION Subscription order www.stage-directions.com/subscribe BUSINESS OFFICE Stark Services P.O. Box 16147 North Hollywood, CA 91615 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 21, Number 5 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. Advisory Board Joshua Alemany Rosco Julie Angelo American Association of Community Theatre Robert Barber BMI Supply Ken Billington Lighting Designer Roger claman Rose Brand Patrick Finelli, PhD University of South Florida Gene Flaharty Mehron Inc. Cathy Hutchison Acoustic Dimensions Keith Kankovsky Apollo Design Becky Kaufman Period Corsets Keith Kevan KKO Network Todd Koeppl Chicago Spotlight Inc. Kimberly Messer Lillenas Drama Resources John Meyer Meyer Sound John Muszynski Theater Director Maine South High School Scott Parker Pace University/USITT-NY Ron Ranson Theatre Arts Video Library David Rosenberg I. Weiss & Sons Inc. Karen Rugerio Dr. Phillips High School Ann Sachs Sachs Morgan Studio Bill Sapsis Sapsis Rigging Richard Silvestro Franklin Pierce College OTHER TIMELESS COMMUNICATIONS PUBLICATIONS
Letters Smoking On Stage — Again? I am weary of this whole debate and angry that it is returning with such force. Let's suppose a playwright (I teach playwriting and am married to a playwright) creates a scene in which someone uses a gun. Let's suppose the playwright opposes the "prop" gun route. Who is responsible now if someone is injured? The playwright? Under their argument of artistic freedom, no. The producers? Under their argument of artistic freedom, no. The actor? They just do what the director says. The director? No, they just do what the playwright insists of them. What if an audience member is injured by a stray shot? So, let's turn the discussion back to smoking. Who is at fault when someone is injured? If a producer requires a performer to smoke for a role, they can be held liable in the event of a future smoking-related illness. What if an audience member has a reaction to, or dies from, the presence of secondhand smoke? Who is responsible? Freedoms and responsibilities are not the same. No one has the right to harm someone else. We, as theatre artists, employ stage combat. No one is intentionally killed in a sword battle. No scenery is actually burned to the ground on stage. We do not slash people open and put them through the meat grinder during every performance of Sweeney Todd. To allow smoking in a production endangers performers, crew and audience. As an asthmatic, I have had to leave many productions, in the past because of the presence of smoking on stage. Just when I thought we were making progress, the practice is returning. Whatever happened to willing suspension of disbelief? We have laws regulating the use of pyrotechnics on stage, we have begun holding accreditation courses for electricians and riggers to insure the safety of all present. So I would say, in response to your editor's note in the April issue, "So is there anything you just can't put on the stage? Besides smoking? (Joking, joking. Maybe)," that smoking has no place on stage or in public places. The presence of any smoke denies access to the vast majority of the public that does not want to be exposed for reasons of personal preference or personal health. Shan R. Ayers, MFA Associate Professor of Theatre Berea College Berea, KY Our articles on smoking continue to generate the most responses than any other stories — by far. And you’re in good company, Professor Ayers. The Denver Post, in its reporting on the ruling that upheld the smoking ban said: "In its ruling, the Court of Appeals said that theatres were already in the business of make-believe, and that barring smoking was essentially no different from barring the use of illegal drugs or real violence.” — ed.
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