NATEAC Panelists

nateac.org

NATEAC Panelists

Welcome to

Greetings.

It’s my very great pleasure to welcome you to the 2012 edition of the North American Theatre

Engineering and Architecture Conference. I hope your travels here were uneventful and that

your stay here will be exactly the opposite.

Conferences don’t just happen. It takes a small army to put an event like this together and I’d like to take

a moment to recognize and thank the NATEAC army for their help and support.

Sponsors are the backbone of any conference. Their support allows us to be here at the Hilton Hotel in

the middle of the theatre capitol of the world. There are 24 companies and 2 organizations listed on the

sponsor page and at various locations around the conference rooms. Please join me in thanking them

for their support.

It is extraordinary that over 70 industry professionals took the time out of their very busy schedules to

speak to us over the next 2 days. Their generosity of time and energy is astonishing and I can only hope

that my efforts are worthy of their contribution. As inadequate as it may sound, thank you from the

bottom of my heart.

My staff have done an incredible job. They scheduled and re-scheduled sessions, organized meals, boat

trips and tours, all in an effort to help make this conference a success. They even put up with me. I want

to offer each an every one of them my deepest thanks, gratitude and respect.

Which brings me to you, the delegates of NATEAC. Without you we’d all be back at our day jobs wondering

what to have for lunch. Please know that I am very happy to see you here today.

To paraphrase the NATEAC mission statement, we are here to raise the level of awareness and promote

better communication between those who are responsible for designing, building, specifying, outfitting,

occupying, visiting and working in performance venues of all types across North America. My staff

and I never lost sight of this and we have done the best we know how to meet that goal.

So now it’s your turn. We packed the next 2 days for your enjoyment and enlightenment. Go. Enjoy.

Be enlightened. But most of all, share that which you know and that which you learn. We’ll all be the

better for it.

I hope you have a wonderful time here at NATEAC. If there is anything I can do to make your stay here

more enjoyable, please do not hesitate to let me know.

Thanks,

Bill Sapsis

Conference Director


The NATEAC Board

Richard Brett

Charter Engineer,

Theatreplan Ltd.

Director, TEA

Jake Moerschel

Boston Symphony

Orchestra

Donna Frankel-

NATEAC

Richard Pilbrow

Chairman Emeritus,

Theatre Projects

Consultants

Scott Georgeson

Architect

FAIA, NCARB, LEED

AP

Monona Rossol

MS MFA

Industrial Hygenist

William Gorlin

VP-Entertainment

Div., McLaren

Engineering

Lori Rubinstein

PLASA

The NATEAC Staff and Crew

AV Technicians

Jason Butscher

Leslie Cohen

Alex Gorman

Chris Harris

Abby Walsh

Matt Williams

Administration Staff

Dora Novey-Buttfield

Lauren Piven

Emma Sapsis

Hannah R Toale

Olivia Valentin

Sarah Gowan

NATEAC

Sapsis Rigging, Inc

Bill Sapsis

NATEAC

Special thanks to Patrick Faw and the PSAV Hilton staff.

Volunteers

Linda Aizer

Hillary Frisbee

Mark Heiser

Robert Long

Tiffany Walker

Helen Willard

Diana Raymond

NATEAC

Adam Shalleck

AIA, The Shalleck

Collarborative

Eddie Raymond

VP-Training, IATSE

Local 16

San Francisco

Robert Shook

Principal, Schuler

Shook, Theatre

Planners

2 www.nateac.org • 2012 • NATEAC


Welcome!!

NATEAC Information

I am delighted & fortunate to have had the opportunity to work with our many fine panelists,

sponsors & board members over the past many months, and now- here we all are!!

I welcome you all to the North American Theatre Engineering & Architecture Conference

2012 and hope your NATEAC experience is enlightening, exciting, enjoyable, entertaining…

Well, you get the picture.

Our staff is eager to be of assistance, so please do not hesitate to call upon them if you

have any questions, concerns or problems. You will recognize them by their black NA-

TEAC crew shirts and baseball caps.

To help make this event enjoyable for everyone, I would ask that you please note the

following:

We are using the Trianon Ballroom on the 3rd floor and the Beekman and Sutton

North breakout rooms on the 2nd floor, for all of our panel discussions.

Breakfast and lunch will be served on the 3rd floor in the Rendezvous Room

& Petite Trianon. We will have coffee service there throughout the day.

Please keep your Conference badge in sight when you are in the conference

areas.

The Hilton is a smoke free environment. Please smoke only in designated

outdoor areas. Please use the receptacles placed in these areas.

Please turn off your cell phone before entering a session room. (It’s an interruption

when you stand up during a session and hurry to the door to take the

incoming call.)

Please do not leave bags, briefcases or luggage unattended and keep your

valuables with you at all times. We can not be held responsible for lost, damaged

or stolen property.

Once again I’d like to thank you for attending NATEAC. If there is anything I can do to

make your experience here more enjoyable, please do not hesitate to ask.

Donna Frankel,

Conference Coordinator

NATEAC • 2012 • www.nateac.org 3


NATEAC Sponsors 2012

NATEAC would like to acknowledge the contributions of the following sponsors:

Platinum Sponsor

Gold Sponsors

Silver Sponsors

4 www.nateac.org • 2012 • NATEAC


Bronze Sponsors

The Conference has also been greatly assisted by the following organizations:

ABTT Sightlines

AIA

The American

Institute of

Architects

Lighting & Sound

America

ASTC

The American

Society of Theatre

Consultants

NATEAC Sponsors 2012

Lighting & Sound

International

PLASA

Protocol

Magazine

USITT

United States Institute

for Theatre

Technology

Stage Directions

Magazines

Randi Minetor

NATEAC • 2012 • www.nateac.org 5


NATEAC Schedule of Events

Saturday July 21,2012

7:00 - 10:00p Complimentary NY City Harbor Cruise

Sunday July 22, 2012

Trianon Sutton North Beekman

7:00a – 8:45a Conference Registration and Breakfast

8:45a – 10:00a

10:10a – 11:30p

Panel Session I

11:30p – 12:00p

Sponsor sessions

12:00p – 1:00p Lunch

1:00p – 2:20p

Panel Session II

2:30p – 3:50p

Panel Session III

4:00p – 5:00p

Panel Session IV

Keynote Address

Richard Pilbrow

All You Ever Wanted

to Know About Stage

Automation

David Edelstein (M), Mark Ager,

Scott Fisher, Andy McArthur

Richard Pilbrow

Book Signing

The Changing Infrastructure

of Performance Spaces in the

Era of Solid State Lighting

Steve Terry (M), Curtis Kasefang,

Joel Rubin, Robert Young

Restoration of

Pre-Depression Era

Theaters

Bill Gorlin (M)

Mitchell Kurtz

Francesca Russo

History of Broadway

& Its Theatres

Robert Long

Scott Crossfield

High School Auditoriums

Dan Culhane (M)

Peter Scheu, Vijay Sehgal

How to be the Perfect Client

Jack Tilbury (M)

Cosmo Catalano,

Molly McGowan

David Rosenburg,

Promoting Sustainable

Design

John Runia(M)

Nico Kienzl

Mark Loeffler

A Conversation with

Local One

Paul Dean (M)

Roger Bardwell

Fred Smith

Open Evening

Safety By Design

Eddie Raymond(M)

Scott Georgeson, Monona Rossol

NYC Model for Developing

Performing Arts Facilities

Steven Friedlander (M)

Andrew Burmeister,

Adam Bernstein,

Adrian Ellis, Carol Ochs

Grids, Catwalks &

Aerial Platforms

Peter Svitavsky (M)

Robert Shook

Glenn Turner

Two Case Studies in

the Pacific Rim

Craig Gamble

Virginia Ross

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Monday July 23, 2012

Tuesday July 24, 2012

Trianon Sutton North Beekman

7:30a – 9:30a Breakfast

9:00a – 10:00a

Panel Session V

10:30a – 11:50p

Panel Session VI

12:00p – 1:00p Lunch

1:00p – 2:20p

Panel Session VII

2:30p – 3:50p

Panel Session VIII

4:00p – 4:45p

What is that Seat Worth?

Adam Shalleck(M)

Duncan Webb

Steven Roth

Lincoln Center Renovation

Mark Holden (M)

Ron Austin

Peter Duffin

Ben Gilmartin

Peter Rosenbaum

Core Values - What Makes

a Great Theater

Josh Dachs (M)

David Cromer

Charles Isherwood

Narelle Sissons

Flat Floor Conversion

Joe Mobilia (M)

Mark Blakeman

George Shaw

Duncan Webb

Plenary

Steve Ehrenberg

Eddie Raymond

Variable Acoustics

Larry Kirkegaard (M)

Hugh Hardy

David Kahn

Arthur van Maurik

Stage Lifts/Stage Edge

Safety

Jules Lauve (M)

Tanya Gillette

Steve Sweet

Cosmo Catalano

ADA 2012

Scott Crossfield (M)

Kristi Avalos

Michael Maag

Building Code

Requirements

Karl Ruling (M)

William Dailey

Shawn Nolan

7:00 pm Conference Dinner at Sardi’s - 234 West 44th St

10:00a - 2:00p Theatre Tours (available by pre-registration only)

NATEAC Schedule of Events

Designing for the Next 10

Years

Andy Hayles (M)

David Jensen

Susan Feldman

Efficient Design Ideas

Robert Hamilton (M)

Virginia Ross

Anne Minors

Katie Oman

Working with Manufacturers

Sonny Sonnenfeld (M)

Mark Vassallo

Jonathan Resnick

Bob Lorelli

Non-Traditional Spaces

Gregory Miller(M)

Josh Dachs

Ryan Ingebritsen

NATEAC • 2012 • www.nateac.org 7


NATEAC Panel Sessions

Keynote Address:

Architecture and the Art of Theatre Design

Richard Pilbrow

All You Ever Wanted To Know About

Automation, But Were Afraid To Ask.

David Edelstein (M), Mark Ager, Scott Fisher, Andy McArthur

A discussion on systems currently in place and the changes we can

expect over the next 10 years. The stage panel will look at the impact

automation will have, not only on HVAC and communications

systems, but also on the structural requirements of the venue.

High School Auditoriums:

Why Good Design Matters

Dan Culhane (M), Peter Scheu, Vijay Sehga

Audience expectations when attending today¹s high school performances

have been hugely influenced by such popular media as Glee

and American Idol. As the production needs of secondary education

performing arts programs grow, school officials are demanding better

design of their multipurpose auditoriums, as well as more capability

in their technical production systems. In this session we discuss

what¹s right, and wrong, with the way secondary school auditoria

are programmed designed, and what should be considered when

designing or outfitting “just another high school auditorium”.

Safety by Design

Eddie Raymond (M), Scott F. Georgeson, Monona Rossol

A performance venue is typically an environment rife with potential

hazards. The work is performed under tight schedules, involves the

use of unusual structural, mechanical and chemical materials and,

just to make it interesting, is often done in the dark. This session

explores the potential dangers and provides solutions to consider

in the planning and design phases.

The Changing Infrastructure of Performance

Spaces in the Era of Solid State Lighting

Steve Terry (M), Curtis Kasefang, Joel Rubin, Robert Young

Power distribution, HVAC, and control networks are all being affected

by the move from tungsten to solid-state lighting. Infrastructure

design decisions are not easily reversible, yet the timing of the

change to solid state lighting is not precisely known. How much

air conditioning? How much power? When can the dimmer room

be eliminated? These are all questions that theatre designers are

grappling with. This panel would seek solutions to these and other

infrastructure questions.

How to Be the Perfect Client

Jack Tilbury (M), David Rosenburg, Cosmo Catalano, Jr., Molly McGowan

It is often forgotten that theaters are not built by architects and

contractors, but by clients. It is the client who identifies the need, creates

the vision, writes the brief, raises the money and eventually, after many

years of hard work and determination, hires a team to start the design

process. But as the project moves into the world of architects, project

managers and consultants, a new set of challenges awaits. This session

will offer practical advice and guidance to clients on how to successfully

organize your resources and manage your theatre project.

New York City’s Model for Developing New

Performing Arts Facilities: Innovative Public &

Private Partnerships for the Performing Arts

Stephen Friedlander (M), Andrew Burmeister, Adam Bernstein, Adrian Ellis,

Carol Ochs

An open discussion of the methods that the City of New York uses to

develop new arts facility projects, the challenges they face and the

outcomes of the process.

Restoration of Pre-Depression Era Theatres

Bill Gorlin (M), Mitchell Kurtz, Francesca Russo

This panel will explore the blending of the old and the new; the

equipment required for current day performances and the physical

limitations of a building designed for an earlier time. The panel

will address ways to raise the load ratings or older structures while

still maintaining the space to allow for a wide range of performance

types. HVAC, power requirements and lighting will also be discussed.

Promoting Sustainable Design -

Regulatory and Voluntary Approaches

John Runia (M), Nico Kienzl, Mark Loeffler

What’s the impact on theatre design of voluntary and regulatory approaches

to sustainability? On the voluntary side, LEED is the front

runner. But is it the best approach and are there viable alternatives?

The regulatory approach has been around at least since ASHRAE 90

was adopted. What has been the impact of California’s comprehensive

new green building code mean for theatre design?

Grids, Catwalks, and Aerial Work Platforms:

Planning for Access to Equipment in the Theater

Peter Svitavsky(M), Robert Shook, Glenn Turner

Theaters of any size will incorporate equipment that is suspended in

the upper reaches of the space. A responsible design must include

provisions for access to this equipment without undue expense or

exposure to risk. In this session we will present the access requirements

for some basic elements of theater design and explore the

balance of function and cost for some common solutions.

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History of Broadway and Its Theatres: 250+ Years in

60+ Minutes

Robert Long, Scott Crossfield

Sponsored by the American Society of Theatre Consultants (ASTC)

The Changing Face of Backstage Broadway:

A Conversation with Local One IATSE

Paul F. Dean, Jr. (M), Roger Bardwell, Fred Smith

Stagehands offer their insights on the evolution of technology on

the Broadway stage over the last 30 years.

Two Case Studies in the Pacific Rim

Craig Gamble, Virginia Ross

A look at the Bali Theatre, a 1200 seat purpose built theatre in

Gianyar and the Q Theatre, a 350-450 seat variable format venue in

Auckland NZ.

What is That Seat Worth? The Relationship of the

Audience Experience in the Venue and Revenue.

Adam Shalleck (M), Duncan Webb, Steven Roth

As planners and designers of performance venues, we owe it to our

Clients to deliver not only a great looking and functioning building,

but one that fulfills the intrinsic need to make sure it’s filled with

audiences over time: a building’s success is measured also by its

Owner’s success.

Adaptable Acoustics in Performance

and Rehearsal Spaces

Larry Kirkegaard (M), Hugh Hardy, David Kahn, Arthur van Maurik

A lively discussion of the rationale, techniques and effectiveness of

diverse approaches to making spaces acoustically more suitable for

their users.

Designing for the Next Ten Years

Andy Hayles (M), David Jensen, Susan Feldman

How do we determine what performers, designers, directors and the

public will want in a new and constantly changing electronic age?

Lincoln Center - the 1.2 Billion Dollar

Renovation. Lessons Learned?

Mark Holden (M), Ron Austin, Peter Duffin, Ben Gilmartin, Peter Rosenbaum

A look at the project and the benefits stemming from the monumental

undertaking.

NATEAC Panel Sessions

Stage Lifts/ Edge Safety

Jules Lauve (M), Cosmo Catalano, Jr., Tanya Gillette, Steve Sweet

Efficient Design Ideas for Theatres:

How To Do More With Less

Robert Hamilton (M), Virginia Ross, Anne Minors, Katie Oman

This session will feature a learned panel hosting a round-table

discussion of design ideas that can maximize design efficiency for

projects who have modest budgets

Core Values: What Makes a Great Theater?

Josh Dachs (M), David Cromer, Charles Isherwood, Narelle Sissons

Today’s theater artists choose to perform in an ever-wider assortment

of spaces - purpose built theaters, adapted buildings, and

found spaces. As the definition of theater space continues to evolve

along with the art form it contains, and as technology, commerce,

and economic pressures impact artistic desires, recalling what it

is about theater space itself that we truly value becomes increasingly

important. Theater Consultant Joshua Dachs, director David

Cromer, NY Times Drama Critic Charles Isherwood, and scenic designer

Narelle Sissons will discuss key experiences they have had in

their lives that have inspired them and shaped their thinking, and

what their own core values for theater space actually are. The hope

is to foster an ongoing dialogue about we value most in the design

of theater spaces.

ADA 2012: Reviewing the 2010 Standards

and Their Impact on Our Industry

Scott Crossfield (M), Kristi J. (Thomas) Avalos, Michael K. Maag

The very popular NATEAC 2008 panelists are reunited to

review the recently revised ADA standards and their impact on the

entertainment industry.

Working With Manufacturers, Manufacturers Representatives,

& Dealers

Sonny Sonnenfeld (M), Mark Vassallo, Jonathan Resnick, Bob Lorelli

Techniques on getting the best products at the best prices.

Flat Floor Conversion in Performing Arts Centers

Joe Mobilia (M), Mark Blakeman, Duncan Webb, George Shaw

The ability to quickly convert from audience seating on risers to

a flat floor makes a huge difference in a performing arts center’s

programming and revenue potential. Case studies will include the

Schermerhorn Symphony Center in Nashville and the Tobin Center

in San Antonio. The panel will discuss how flat floor technology

impacts a venue’s operations, income, and architecture.

NATEAC • 2012 • www.nateac.org 9


NATEAC Panel Sessions

Building Code Requirements for

Entertainment Installations

Karl Ruling (M), William Dailey, Shawn Nolan

In light of recent events, it is likely and perhaps inevitable that

industry standards and codes will continue to be adopted into law.

The panel will present a discussion of the state of Building Code requirements

as they currently affect the entertainment industry. In

addition, the panel will discuss possible future legislation; including

providing comment on national and international standards

likely to be adopted into law.

Non-Traditional Spaces for Classical Music

Gregory Miller (M), Josh Dachs, Ryan Ingebritsen

Although classical music has a long history of being performed in

a wide range of venues, most contemporary audiences associate

these performances with formal concert halls and opera houses.

Recent years, however, have seen the emergence of classical music

performances in unlikely spaces ranging from small clubs to cavernous

open rooms. Audiences have responded to these performances

with enthusiasm and growing attendance, which invites

the question: What is it about these spaces that makes them work

so well while bearing so little resemblance to more traditional

halls? This session will examine that question from the perspective

of the performer, audience member, and designer.

Plenary: The Last Word

Steve Ehrenberg, Eddie Raymond

A discussion for all and thoughts on moving forward

5-6 p.m. Sunday, July 22,

Rendezvous Trianon, Hilton

USITT Members and Friends

Reception

Join USITT for drinks and hors d’oeuvres

before you head to dinner. Unwind with

USITT officers and staff and discuss the day.

Midtown Manhattan

1. New York Hilton

2. Radio City Music Hall

3. Sardi’s

4. Lincoln Center

10 www.nateac.org • 2012 • NATEAC


Mark Ager

Co-founder Stage Technologies Ltd., MSc

Robotics. Industrial Automation, Imperial College,

London University, Chartered Engineer and

Fellow of the IET – Institute of Engineering and

Technology

After completing a MA in Physics at Oxford University,

Mark spent a short time working on an oil

rig off Aberdeen, before joining the Royal Shakespeare

Company. He became Systems Engineering

Manager at the Barbican, primarily responsible

for the maintenance of one of the first power flying

systems installed in the UK. After three years working

for an industrial automation company providing

motion control systems, Mark set up Stage

Technologies with John Hastie in 1994.

During the early years of Stage Technologies,

Mark was directly involved with the development

of the Acrobat control system. He also worked on

the development of a system to allow free ranging

computer-controlled trucks to move to preplotted

positions on the stage. The development

of Pathway software was a significant milestone

in automation technology, allowing an operator

to plot 3-dimensional paths in space. This later

evolved into Stage Technologies Visual Creator

software, which allows the operator to plot a

6-degree of freedom path and complex 3-dimensional

automated moves. Mark has designed radio

control systems of remote systems (primarily for

stage trucks) and PLC software and hardware.

He has written a book on automation for

professionals and students and devotes considerable

time to promoting the awareness of engineering

as a career, and is involved in the ‘Make

your mark’ campaign that actively promotes engineering

in schools and colleges around the UK.

Ron Austin

As the Executive Director of the Lincoln Center

Development Project, Ron was responsible

for overseeing the redevelopment of one of

the world’s most iconic performance campuses.

Working collaboratively with the renowned design

firm of Diller, Scofidio and Renfro, the $1.2

billion effort was divided into 37 individual projects

that ranged from a simple escalator replacement

to the complete gutting and rebuilding of

the world famous Alice Tully Hall. Working in an

environment that required complete unanimity

from the 12 resident constituencies coupled

with the mandate that no scheduled event

could be affected required a strong set of negotiation

and collaboration skills. By virtue of being

surrounded by a team of 50 very talented direct

reports as well as 3 of New Yorks finest Construction

Managers allowed the unionized workforce

of roughly 5,000 tradesmen to complete the

project on time and at a cost significantly less

than original budgeted. As funding for the project

was provided by a series of regulatory agencies

including City and State of New York grants

as well as the Federal Transportation Authority

all of which required the review and approval of

independent auditors further exemplified the

complexity associated with this endeavor.

Kristi Avalos

Kristi J. Avalos is the President/CEO of Accessology,

Inc., based outside of Dallas, TX. The company

has been at the vanguard of accessibility

compliance and disability related issues for more

than 20 years. Accessology provides accessibility

assessments to determine compliance with

state and federal accessibility standards for projects

ranging from your local high school athletic

field to the now under construction new Dallas

Cowboys Stadium, from community theater

buildings to the Dallas’ award winning American

Airlines Center, from a homeless shelter to Florida’s

landmark Fontainebleau Resort. In her very

entertaining style, she is a national speaker and

trainer to architects, building owners, property

managers, contractors and real estate brokers on

both state and federal accessibility. Ms. Avalos is

a primary liaison with the United States Access

Board and other agencies and organizations

that shape accessibility legislation and trends.

She has been sought after and recognized as an

expert witness nationwide on legal cases involving

The Americans With Disabilities Act (ADA)

and accessibility. Ms. Avalos is certified by the

International Conference of Building Officials

as an Accessibility Usability Specialist and as a

Registered Accessibility Specialist by the Texas

Department of Licensing and Regulation.

Roger Bardwell

Roger Bardwell is the Shop Foreman and Chief

Engineer at Hudson Scenic Studios where he has

worked for 25 years. Among the Broadway and

touring shows that Hudson has built during his

tenure are: Priscilla, Billy Elliot, Lion King, Mama

Mia, Phantom of the Opera, Mary Poppins, Chitty

Chitty Bang Bang, Les Miserables and Miss Saigon.

Roger has also engineered the structure

and rigging of the Millennium Ball and the two

subsequent versions that are dropped annually

in Times Square.

Roger received a BA in English Literature from

Harvard University a BS in Mechanical Engineering

from Manhattan College and attended the

Yale School of Drama in Technical Design and

Production. He is a P. E. in New York State, an AWS

Certified Welding Inspector, and an ETCP Certified

Rigger Arena/Theater. He has been a member of

IATSE Local 1 since 1993. He is currently a member

of ASME, ASCE, AWS, AISC and ESTA.

Adam Bernstein

Adam Bernstein has been the General Manager

for New York’s Signature Theatre since

2006 and has worked with the organization

since 2003. Producing highlights with Signature

include plays by August Wilson, Charles

Mee,Edward Albee, Horton Foote, Tony Kushner,

Athol Fugard, Katori Hall, Will Eno and Kenneth

Lonergan. Bernstein was actively involved in

the planning of The Pershing Square Signature

Center designed by Frank Gehry which opened

in January 2012. Before Signature, he was General

Manager for the Blue Heron Arts Center and

was the Founding Artistic Director of Confluence

Theatre Company. Producing credits with Con-

NATEAC Panelists

fluence include Durang vs. Ives, Rosencrantz and

Guildenstern are Dead, It’s About Time, and The

(Re)Cycle Plays Eco-Festival. He hails from Pittsburgh,

Pennsylvania and is a graduate of Point

Park University. Bernstein currently serves on the

Board of the League of Off-Broadway Theaters

and Producers.

Mark Blakeman

Mark A. Blakeman is Vice President and General

Manager of the Nashville Symphony and

the acclaimed Schermerhorn Symphony Center,

which opened in 2006. He is responsible for

producing 140 concerts annually and oversees

the Center’s catering operation, as well as their

upscale restaurant Arpeggio, a lunchtime café

and a robust facility rental business.

Resulting from flooding in 2010, Blakeman

oversaw a $40 million reconstruction of the

Center. Working with FEMA, significant changes

were implemented to mitigate future flood

damage. The post-flood project was honored

to receive a 2011 Award of Engineering Excellence

from the American Council of Engineering

Companies. The Center reopened New Year’s

Eve 2010, just eight months after taking on more

than 5 million gallons of water.

Blakeman oversees all electronic media activities

of the Symphony. During his tenure, they’ve

earned two Emmy nominations, winning one

Emmy Award in 2007. They’ve released twentytwo

recording projects, earning fourteen Grammy

nominations, winning seven Grammy Awards.

Blakeman has taught at Oklahoma City

University and Middle Tennessee State University,

leading coursework in acoustics, survey of

popular music and orchestral music and management.

He has served as a clinician at the

Tennessee, Oklahoma and Texas all-state music

conferences, lecturing on concert production

and artist engagement.

Andrew Burmeister

Andrew Burmeister serves as the Assistant

Commissioner for Capital Projects at New York

City’s Department of Cultural Affairs. He joined

the DCA in 2005, after ten years in design and

construction management in the private sector.

Working with Lloyd and Associates Architects

and Studio Arquitectura in New Mexico and

Eisenman Architects in New York he has collaborated

on many significant institutional, residential

and hospitality projects. Notable among them

are Club Med World in Paris, the Sandia Pueblo

Church and Sherif Residence in New Mexico,

and Max Reinhardt Haus (proposed) in Berlin. At

DCA, Andrew’s portfolio has included the Whitney

Museum High Line project, the theaters at

Archstone Clinton and Signature Theatre’s new

42nd street home.

Andrew is also an accomplished fashion and

fine art photographer, with work in the permanent

collections of the Museum of Fine Arts,

Houston and the Worcester Museum of Art. He

holds a Bachelor of Arts in Architecture, Art and

Philosophy and Bachelor of Architecture, both

from Rice University.

NATEAC • 2012 • www.nateac.org 11


NATEAC Panelists

Cosmo Catalano, Jr.

Cosmo Catalano, Jr. has served as Technical

Director or Production Manager at a variety of

venues for more than 30 years. After graduating

from the University of Iowa and the Yale

School of Drama he has held positions at Penn

State University, Williams College, Pepsico Summerfare,

Mass Illusion, Pook, Diemont and Ohl,

and Theatre Projects Consultants. At present, he

is the Technical Supervisor at the ‘62 Center for

Theatre and Dance at Williams College. When

not in the theatre, he can be found as a volunteer

on the Appalachian Trail in Massachusetts.

David Cromer

Recent productions include The House of Blue

Leaves (Broadway), When the Rain Stops Falling

(Lincoln Center Theater-2010 Lortel Award),

and A Streetcar Named Desire (Williamstown

Theatre Festival and Writers Theatre-Chicago.)

His production of Nina Raine’s Tribes is currently

running at the Barrow Street Theatre.

He also directed Our Town, which ran at The

Barrow Street Theatre (2009 Lortel and Obie

Awards-Direction) and Adding Machine: A

Musical at Minetta Lane (2008 Lortel and Obie

Awards for Direction.)

In Chicago, David directed many award winning

productions including Picnic, Hot L Baltimore

and Cherrywood. David is a 2010 recipient

of the MacArthur Fellowship.

Scott Crossfield

Scott Crossfield is a director in Theatre Projects’

US office. Scott is experienced in all aspects of

the design and construction of performing arts

facilities, having consulted on over 350 projects

in the United States and abroad. His work

includes theatre concept design, planning and

programming theatre buildings, site assessment,

and participation in feasibility studies.

A few of Scott’s projects include: Dr. Phillips

Center for the Performing Arts Orlando, FL, Kennedy

Center Theatre Lab Washington, DC, and

Palacio de Belles Artes Mexico City, Mexico

Prior to joining Theatre Projects, Scott was a

partner of Davis Crossfield Associates, Theater

Consulting Services of New York City. At DCA

Scott was responsible for all aspects of theatre

consulting including programming; auditorium,

stage and support space design; seating and

sightlines; code analysis; and technical theatre

equipment design and specification.

Scott is the Vice President of the American

Society of Theatre Consultants and representative

to the ICC/ANSI A117.1 Accessible and Usable

Buildings and Facilities Committee. In 2011,

Scott was inducted into the Warner Theatre Hall

of Fame and currently serves on the Warner’s

Board of Corporators. Scott is also a member of

the United States Institute of Theater Technology.

He received his Bachelor of Fine Arts degree

from Carnegie Mellon University.

Dan Culhane

Dan Culhane is currently the Technical Business

Development Manager at SECOA Inc. Prior

to this position; he spent eleven years as SECOA’s

Engineering Manager, responsible for converting

architectural drawings and consultant’s

specifications into manufacturing drawings as

well as facilitating the design of specific solutions

to venue specific problems. He is an ETCP

Certified Rigger for Theatre and Subject Matter

Expert for ETCP.

Dan is a veteran of the industry. He spent 15

years as a Technical Director working for theaters

across the country including the Guthrie Theater,

Minneapolis, MN; The Children’s Theatre Company,

Minneapolis, MN; StageWest, Springfield, MA and

Great Lakes Theatre Festival, Cleveland, OH. He

has an MFA in Theatre Technology from the University

of Wisconsin, Madison and a BA in Theatre

from Southern Illinois University – Carbondale.

Dan serves on the PLASA Technical Standards

Program, Rigging Working Group where he is the

chairman for the task group writing the standard

for Manufactured Electric Chain Hoists for the Entertainment

Industry. He is also a member of the

Stage Lift Working Group through PLASA which

is developing a standard for stage lifts for this

industry. Dan also sits on the Board of Directors

for USITT and is the incoming Treasurer.

Dan is married to Tree O’Halloran, an Equity

Stage Manager. They have two children and live

in Minneapolis, MN.

Joshua Dachs

Joshua Dachs is principal of Fisher Dachs

Associates, one of the world’s leading theatre

consultancies. He has a background in music

(violin), a degree in architecture, and has worked

in the theater as a set and lighting designer and

producer. In over 30 years of practice he has

helped plan and design hundreds of successful

projects including the Four Seasons Opera

House in Toronto, the Mariinsky II Opera House in

St. Petersburg, the renovation of Lincoln Center’s

Alice Tully Hall and Juilliard School expansion,

the New Guthrie Theater, the transformation

of DC’s Arena Stage, and work at many other

regional theaters and universities. He designed

the acclaimed annual stage installation for the

Mostly Mozart Festival in Avery Fisher Hall, two

contemporary classical music festivals and the

recent acclaimed NY Philharmonic 360 concert

at the Park Avenue Armory. He has collaborated

with many of the worlds leading architects and

Pritzker Prize winners.

He holds a Bachelor of Architecture degree

from Cornell University. He has been a guest critic

at SCIARC and UCLA schools of architecture,

and taught a professional development course

on Theater Design for Harvard University. He is

a member of the American Society of Theatre

Consultants (ASTC). Josh’s wife, Ako, is a stage

and film actress. www.fda-online.com

William Dailey

William Dailey has worked as a Building Code

Consultant since 1985, working for clients including

the 42nd Street Development Project,

Lincoln Center for the Performing Arts, the Jujamcyn,

Nederlander and Shubert Organizations

and the New York Mets. He is a graduate of Columbia

College and earned a MBA from the Columbia

University Graduate School of Business.

His company has obtained approvals from the

NYC Department of Buildings for Special Events

for twenty-five years at venues including Shea

and Yankee Stadiums, the Lincoln Center, Armory

on Park, New York Public Library and MoMA PS1;

obtained approvals for events as varied as Pink

Floyd Concerts, a Persian Circus at the Lincoln

Center, the Royal Shakespeare Company, the

Whitney Bienniale, and over 30 Broadway shows.

Paul Dean

Peter Duffin

Mr. Duffin is responsible for strategic planning,

promotion, and management of multi-million

dollar earned income initiatives at Lincoln

Center, as well overseeing the development

and communication of Lincoln Center’s brand

through a variety of channels, including Lincoln

Center’s website. Peter works with his marketing

colleagues from the various performing arts

organizations across the campus, on the development

of promotional initiatives including the

discount ticketing and visitor center for Lincoln

Center, a state-of-the-art digital outdoor information

landscape, outreach programs, Lincoln

Center’s website and mobile applications. Mr.

Duffin joined Lincoln Center 15 years ago, holding

a number of positions within its marketing

and communications group and was appointed

Vice President, Brand Management of Lincoln

Center in February 2009. Mr. Duffin holds his BA

from Brighton Polytechnic, United Kingdom and

an MFA from Rutgers University of New Jersey.

David Edelstein

David Edelstein, founder of Triple E Ltd. trained

at LAMDA as a stage manager.

He was a member of the stage management

team at the National Theatre when it opened in

1976, progressing to production management.

After some years in technical theatre, David

decided that if he was going to work unsocial

hours, he wanted it to be for his own business.

He began by manufacturing the pin-hinges that

subsequently won the ABTT product of the year

award and set the company on its future path.

Triple E Limited is now a specialist manufacturer

of both automated and manual curtain track

and scenery systems. Since 1998 Triple E has

designed and, manufactured variable acoustic

systems around the world. The Varibanner and

the Chaintrack system have been employed in

multiple venues around the world. This is a growing

area where no two jobs are ever the same but

the team at Triple E are always ready for the challenge.

David is a former Chairman of the ABTT,

an enthusiastic petrol head and motorbiker and

therefore a Long Reach Long Rider and with his

wife Brenda, organiser of the First Night Riders

in the UK.

12 www.nateac.org • 2012 • NATEAC


Steven Ehrenberg

Eberg Stage Solutions.

Where recent projects include Production

Management : War Horse First National Tour;

Martha Clarke’s Angel Reapers; Donny & Marie

Christmas (Broadway and touring); and other

touring projects. Director of Production: The

Cave with Ensemble Modern; currently - Salomes

Envisage an evening of classical piano in a video

environment.

Steven began his career while attending Columbia

University in New York. A career which has

included work as a stage manager, stagehand,

technical director, technical supervisor and production

manager for Broadway and Off Broadway

theatre, opera, events, music and dance

across the world. As VP of Technical Production at

BASE Entertainment Steven has the opportunity

to work on both venue construction and show

production. Most recently for Lion King and

the Theatres at Marina Bay Sands Resort in Singapore.

He also served as the technical producer

for the Las Vegas Productions of Phantom, Jersey

Boys and Peepshow. Acting as the producer’s

representative on the construction of the Venues

and the installation of the productions.

Previously, as VP of Technical Supervision

at Clear Channel then Live Nation theatrical,

Steven’s responsibilities included technical

oversight for the touring network of Broadway

Across America and consulting on construction

of new buildings and renovations. Prior to work

with SFX/Clear Channel/Live Nation, Steven was

the Production Manager for Blue Man Productions

during the mounting of their first Las Vegas

production at Luxor. He also serves on the ETCP

Certification Council.

Adrian Ellis

Adrian Ellis founded AEA Consulting (www.

aeaconsulting.com) in 1990, to which he recently

returned after serving as Executive Director

of Jazz at Lincoln Center from 2007 - 2011.

AEA specializes in strategic, operational and

facilities planning for cultural organizations and

in cultural planning for city and regional governments.

He has worked with performing arts

clients throughout the United States, Europe, the

Middle East and Asia. He is resident in New York.

Susan Feldman

Susan Feldman is the founder and Artistic Director

of St. Ann’s Warehouse (originally Arts at

St. Ann’s). From 1979 to 2000, she oversaw the

restoration activities and performing arts series in

the National Historic Landmark Church of St. Ann

and the Holy Trinity in Brooklyn Heights, New York.

In 2001, Arts at St. Ann’s re-located to DUMBO and

established St. Ann’s Warehouse, one of New York

City’s most important cultural destinations, where

it has become home to the American Avant-

Garde and international artists and companies of

stature in search of a flexible, European-style New

York venue and producing team.

Under Feldman’s artistic leadership, St. Ann’s

continues to celebrate the panoramic traditions

of American and world cultures, with forays into

a variety of contemporary forms. Among the

many acclaimed St. Ann’s productions are Lou

Reed and John Cale’s Songs for Drella, Marianne

Faithfull’s Seven Deadly Sins, Artistic Director

Susan Feldman’s Band in Berlin, Charlie Kaufman

and the Coen Brothers’ Theater of the New Ear, The

Royal Court Theatre’s 4:48 Psychosis, The Wooster

Group’s Hamlet, The Emperor Jones, House/Lights,

To You, The Birdie! (Phèdre), The Globe Theatre’s

Measure for Measure, Daniel Kramer’s Woyzeck,

Antony’s Turning, Mabou Mines DollHouse, Lou

Reed’s Berlin, Cynthia Hopkins’ Accidental Trilogy,

Les Freres Corbusier’s Hell House, Druid’s The

Walworth Farce, The New Electric Ballroom, and

Penelope, TR Warszawa’s Macbeth, The National

Theatre of Scotland’s Black Watch, Kneehigh Theatre’s

Brief Encounter and Enda Walsh’s Misterman

starring Cillian Murphy.

In April 2004, the OBIE Award committee awarded

Susan and St. Ann’s Warehouse with the Ross

Wetzsteon Memorial Award, recognizing 25 years

of dedication to and development of new work.

Scott Fisher

Steven Friedlander

With more than 25 years of theatre consulting

experience, Steven Friedlander is a leader in the

field. He is the Principal in Charge of Auerbach

Pollock Friedlander’s New York office, where he

directs many of the firm’s projects in the U.S.,

Europe and the Middle East. He has successfully

led projects for some of New York’s most prestigious

performing arts organizations including:

The Public Theater, BAM, Carnegie Hall, New York

City Center, and most recently Signature Theatre.

Steve’s consulting practice is backed by more

than 10 years of work as a lighting designer and

production manager, collaborating with ballet,

opera and theatre companies nationally and

internationally.

Mr. Friedlander has lectured at Yale University,

New York University and for a variety of professional

organizations throughout his career. He

received a Bachelor of Fine Arts degree from

Boston University’s College of Fine Arts where

he has also served on the Dean’s Advisory Board.

Projects include: Boston Conservatory; Brooklyn

Academy of Music, Richard B. Fisher Building,

Harvey Theatre and Howard Gilman Opera

House; Carnegie Hall, Judy and Arthur Zankel

Hall, New York, New York; Cyprus Cultural Centre;

Emerson College, Cutler Majestic Theatre, Paramount

Theatre Re-use, and Tufte Performance

and Production Center, Boston, Massachusetts;

Guggenheim Abu Dhabi; Philadelphia Academy

of Music; Qatar National Convention Centre; The

Pershing Square Signature Theatre, New York,

New York; and The Public Theater Renovation,

New York, New York.

Craig Gamble

Craig Gamble is an Associate with Marshall Day

Entertech, one of Australia’s leading acoustic and

theatre consultancies. He is currently working on

projects across Australia and South East Asia.

Craig has a Bachelor of Arts from the National

Institute of Dramatic Art and a Diploma of Management

from Swinburne University. An experienced

project and technical manager specializing

in state-of-the art cultural and performing

arts venues, Craig has over thirty years experience

working on stage, in theatres, galleries, museums

NATEAC Panelists

and other cultural spaces. His professional background

includes roles as diverse as scenic carpenter,

stage manager, rigger, technical manager, tour

manager, welder, stage electrician, operations

manager, venue design consultant and nearly

everything else in between.

Craig has been involved in the development

and delivery of a range of iconic projects including

the development of the Australian benchmarks

for performing arts centres, the design and

build of the Bali Safari Park theatre, Melbourne

Theatre Company’s new home in Southbank, the

Melbourne Museum, and the Capital E Children’s

Event and Exhibition Centre in Wellington New

Zealand and various other theatres and creative

industry spaces.

Craig is a past Committee Member of the Australian

Lighting Industry Association, has guest

lectured at Melbourne and Swinburne Universities,

and has contributed to articles published in

Australian Modern, Mondo arc, and CX Technical

magazines.

Scott Georgeson

Scott F. Georgeson, FAIA, NCARB, LEED AP is

an award-winning architect with over 24 years

experience designing performing arts centers

and complex projects throughout North America

and is currently a Theatre Architect at WorkShop

Architects. Prior experience includes design of

the new theatre for Peninsula Players Theatre in

Door County, Wisconsin. Georgeson is a frequent

presenter on theatre design at the annual conventions

of the United States Institute for Theater

Technology (USITT) and the League of Historic

American Theatres. He is currently running USITT

Architectural Commission’s Design Competition

for architectural and theatre students. Long an advocate

of protecting the environment, his design

of Forest Hill Center for the Performing Arts was

one of the first theatres in the country to receive

a Silver LEED rating. The project also received

design awards from AIA Michigan and Wisconsin.

His work on the Schauer Arts and Activity Center

received awards from USITT, AIA Wisconsin and

the first Presidential Award from the Association

of Licensed Architects. In 1993 he was named an

«Emerging Voice» by AIA Wisconsin.

Tanya Gillette

Tanya Gillette (AEA Stage Manager) Broadway

credits: Tarzan, Urinetown the Musical, The Crucible.

Off-Broadway: Primary Stages. National

Tours: WarHorse-First National, Mary Poppins-First

National, Disney’s On the Record, Chicago, Full

Monty-First National, Aida-First National. Regional:

Trinity Rep, Hartford Stage, Huntington Theatre,

Seattle Rep, San Jose Rep. Graduated from the

Conservatory of Theatre at Webster University.

Benjamin Gilmartin

Benjamin Gilmartin, AIA, is a Principal at Diller

Scofidio + Renfro, a 100-person interdisciplinary

design studio that integrates the performing arts,

visual arts, and architecture. Mr. Gilmartin joined

DS+R in 2004 and became Principal in 2011. In

2010, Fast Company named Diller Scofidio +

Renfro the most innovative design practice in the

profession and among the top 50 most innovative

companies in the world.

NATEAC • 2012 • www.nateac.org 13


NATEAC Panelists

Ben served as the Project Director for the Promenade

Project and the redesign of Alice Tully Hall

at Lincoln Center. Ben currently serves as the Principal

Designer for the Berkeley Art Museum and

Pacific Film Archive in Berkeley, CA, the Museum

of Image and Sound in Rio de Janeiro, Columbia

University’s Graduate School of Business School

in New York City, and a new 80-story residential

tower at Hudson Yards, New York.

Ben received his M.Arch from the Harvard

University Graduate School of Design and a dual

degree in Architecture and English from the

University of California Berkeley. He has been a

long-time contributor to the architectural journal

Praxis, and he teaches in the Thesis program at

Cornell University College of Architecture, Art,

and Planning.

Bill Gorlin

Mr. Gorlin is McLaren Engineering’s Entertainment

Division Chief. A graduate of Cornell

University engineering (M.Eng(C) and B.S.), he is a

Professional Structural Engineer in several states.

During the past 26 years, he has been involved

in the design of scenic, entertainment

and amusement structures, staging, rigging,

buildings, show action equipment, architectural

themeing, sculptures, and other frameworks, nationally

and worldwide. Among these are renovations

of the Belasco, Winter Garden, Barrymore,

Studio 54, and Longacre Theaters; engineering

for dozens of Broadway productions; Cirque du

Soleil’s “KA” at the MGM Grand; Sentosa Dancing

Cranes in Singapore; Kinetic Atrium at the Wynn

Macau; Superbowl 35, 38 & 39 Halftime Shows;

SeaGlass Carousel in Battery Park; T-Rex Animatronic

Figure for Toys-R-Us in Times Square;

Siegfried & Roy at the Mirage; concert tours for

the Rolling Stones, Tina Turner, Madonna, Black

Eyed Peas, Lady Gaga, and U2; Switch Restaurant

at Encore at Wynn Las Vegas.

Mr. Gorlin is a member of the Plasa Rigging

Working Group, including serving as its Performer

Flying Task Group chairman; American

Society of Civil Engineers; the Cornell Society of

Engineers; and Structural Engineers Association

of New York.

Robert Hamilton

Mr. Robert Hamilton, Principal, theatre consultant

and lighting designer, has worked with

Douglas Welch Design Associates since 1988.

Mr. Hamilton has a B.A. Honours in Drama from

the University of Waterloo, an M.F.A. in Theatre

Design from the University of British Columbia

and a Senior Diploma in Theatre Crafts and Design

from the Banff Centre. He has taught four lighting

courses in the Stagecraft program at Douglas College

in New Westminster, BC since 1989. Mr. Hamilton

has been an active member of the Canadian

Institute for Theatre Technology and the OISTAT

Architecture Commission and has presented at

many conferences over the years.

Theatre Consulting projects include the more

than 60 projects, including Chilliwack Cultural

Centre, Bell Centre for the Performing Arts, Edmonton

Fringe Festival, Capilano College Birch

Theatre, Old Auditorium and Frederic Wood Theatre

at UBC, UCFV Chilliwack, North Island College

and Thompson Rivers University, plus more than

30 secondary school theatres throughout BC and

Alberta. Commercial Theatres include Orpheum

Annex in Vancouver, and Red Robinson & River

Rock Casino Theatres.

Volunteer work includes providing support for

the Long Reach Long Riders in the USA since 2004

and the First Night Riders in the UK since 2010.

Hugh Hardy

Hugh Hardy is the founder of H3 Hardy Collaboration

Architecture, known for design of

distinctive new buildings, restoration of historic

structures, and planning projects for the public

realm. Among his most celebrated projects are:

the new New York Botanical Garden Leon Levy

Visitor Center (Bronx, NY); reconstruction and addition

of the Baseball Hall of Fame and Museum

(Cooperstown, NY); restoration of the Brooklyn

Academy of Music’s façade (Brooklyn, NY); the

new office of the New York Academy of Sciences

at 7 World Trade Center (New York, NY); the new

12 courtroom United States Courthouse (Jackson,

MS); reconstruction of Packer Collegiate

Institute’s new school in a nineteenth-century

James Renwick church (Brooklyn, NY); restoration

of Radio City Music Hall (New York, NY);

the new U.S. Customs and Immigration Center

at Rainbow Bridge (Niagara Falls, NY); and the

redesign of Bryant Park (New York, NY).

Hardy’s latest national awards include the

2007 Distinguished Achievement Award in

Theatre Design from the U.S. Institute for Theatre

Technology, the 2001 Placemark Award from

the Design History Foundation and the 2000

Commissioner’s Award for Excellence in Public

Architecture from the U.S. General Services

Administration.

In 2004, Hardy created H3 Hardy Collaboration

Architecture, an outgrowth of Hardy Holzman

Pfeiffer Associates, which he co-founded

in 1967. HHPA was preceded by Hugh Hardy &

Associates, established in 1962.

Andy Hayles

Andy has seventeen years’ experience in

theatre consultancy, including two years as a

director of Theatre Projects Consultants. He is

Managing Partner of Charcoalblue, which he

co-founded in 2004. The company is widely

regarded as the most exciting and innovative

theatre consultancy in the UK.

Andy also has six years’ experience as a theatre

practitioner, including spells at Sheffield Lyceum,

Theatre Royal, Richmond, the RSC and freelance

production work in the West End.

Some of Andy’s past and current projects

include the Royal Shakespeare Theatre Redevelopment

and Courtyard Theatre, RSC, Stratfordupon-Avon;

National Theatre Future Project,

London (including remodelling of the Cottesloe

Theatre); National Theatre Studio, London; Old

Vic Theatre, Bristol; Liverpool Everyman and

Playhouse; Camden Roundhouse, London; Royal

Court Theatre, Sloane Square; Royal Exchange

Theatre, Manchester; Young Vic Theatre, London,

St Ann’s Warehouse, New York, Steppenwolf

Theatre, Chicago and a new space for Chicago

Shakespeare Theatre.

Mark Holden

Mark Holden joined JaffeHolden in 1978 and

is Chairman of the firm and Director of Design. In

these roles, he serves as the firm’s lead architectural

acoustic designer. In his work, Mark applies

his engineering background, experience as a

professional musician and 26 years of acoustical

consulting to the creation of superior acoustic

environments.

His design philosophy draws from the successful

completion of over 100 performance space

designs. As Principal Designer, Mark ensures that

the quality standards of the firm are maintained

on all projects. Some of his ongoing project responsibilities

include: the Long Center in Austin,

Texas and the Bethel Performing Arts Center in

Bethel, New York. Among his recently completed

projects are: the Cirque du Soliel’s Beatles LOVE

show in Las Vegas; Chicago Music and Dance

Theatre; Marion McCaw Performing Arts Center

in Seattle, Washington; Schuster Performing Arts

Center in Dayton, Ohio; John F. Kennedy Center

Opera House in Washington, DC; RiverCenter for

the Performing Arts in Columbus, Georgia; Hobby

Center in Houston, Texas; Tokyo International

Forum, in Japan; and the Bass Performance Hall

and Van Cliburn Recital Hall in Fort Worth, Texas.

Mark’s work in cutting edge museums is highlighted

in the Experience Music Project (Seattle,

Washington) an interactive museum for contemporary

music and the National Museum of the

American Indian on the Mall in Washington, D.C.

that recently celebrated its grand gala opening.

Ryan Ingebritsen

Composer, sound designer, and electronic performer

Ryan Ingebritsen’s music and sound art

focus on the multi-dimensional aspects of sound

while attaining a degree of clarity and lyricism

to permeate and reveal the musical structures

he creates. His music challenges performers to

extend beyond themselves into the realm of

interaction with visual, electronic, and natural

experience providing audiences a window to

observe our multi-dimensional universe through

the interplay and interaction of sound.

A graduate of St. Olaf College and the University

of Cincinnati, he won a Fulbright scholarship

to Poland where he studied under Zbigniew

Bujarski and Marek Choloniewski. He has collaborated

with and been commissioned by

artists such as Todd Reynolds (bang on a can),

International Contemporary Ensemble, Third

Coast Percussion, Beta Collide, Firewire, Till by

Turring, Gold Sparkle and Stars Like Fleas. As a

sound designer and engineer, he has worked

with groups such as Grammy award winning

ensemble eighth blackbird, International Contemporary

Ensemble (ICE) and has premiered

works by Steve Reich, David Lang, Julia Wolf,

Michael Gordon, and Steve Mackey. He has designed

sound for the Tune In festival at the Park

Avenue Armory including the New York premier

of John Luther Adams’ Iniksuit as well as for the

2011 Reich 75th birthday celebration in Millennium

Park.

Ingebritsen was awarded a 2007 Illinois Arts

Council Fellowship in Composition as well as the

2010 McKnight Foundations Visiting Composer

Fellowship. He has also received awards and

14 www.nateac.org • 2012 • NATEAC


commissions from CEC Artslink, Chicago Community

Trust, Chicago Department of Cultural

Affairs, and the Chicago Composers Forum.

Charles Isherwood

Charles Isherwood joined the New York Times

as a theater critic in 2004. He served as chief theater

critic and theater editor at Variety from 1998

to 2004. In Los Angeles he worked as a theater

critic and editor at Variety and Daily Variety beginning

in 1993. Prior to joining Variety he was

a columnist and editor at L.A. Style magazine. A

recipient of the 2005 George Jean Nathan award

for theater criticism, he has also written for the

Times of London, the Advocate magazine, LA

Weekly and other publications.

David Jensen

Director of Production, New 42nd Street Inc.,

New York City. The New42 manages (7) historic

theaters located on 42nd Street, at the Crossroads

of the World. New42 acts as landlords for

(5) theaters and operates (2), the Duke on 42nd

Street and the Drama Desk winning New Victory

Theater. The New Victory Theater, the oldest

working theater in NYC, is the premier venue

for kids and families in NY. The New42 also operates

the New 42nd Street Studios, an 80,000

sq./ft. building, housing rehearsal studios which

service the Broadway community. In 11 years as

Director of Production, David has overseen the

presentation of 120+ international companies

in the Duke, Studios and the New Victory and

originated/managed $10m+ of capital projects.

Prior to joining the New42, David was Technical

Manager at the Citizens’ Theatre in Glasgow,

Scotland. While at the Citz, David oversaw

all technical elements for 40+ productions,

including large-scale works at the Edinburgh

International Festival. He also completed and

commissioned a £3m expansion of the rehearsal

facilities, public lobbies and workshops of the

historic Citizens’ Theatre.

David also consults on touring productions

and contributes to peer reviews, feasibility studies

and other budgetary, production, staffing

and capital consulting projects.

David Kahn

David Kahn, a founding Principal of Acoustic

Dimensions, has spent the last three decades

entrenched in his craft of seeing to the design

details that create exceptional spaces for concert

and recital halls, schools of music, theatre and

dance performance halls, places of worship and

multi-use performance halls. David has provided

design direction on many successful projects

for clients such as: Columbus Association for

Performing Arts (CAPA), Buffalo Philharmonic,

Manhattan School of Music, Broadway Company

of «Rent», St. Paul Chamber Orchestra and

Woolly Mammoth Theatre. Other notable projects

include the Cowles Center in Minneapolis,

The Manitoba Centennial Center in Winnipeg

Canada, numerous historic preservation venues,

and University-based performing arts centers.

David is on the faculty of Yale University in the

graduate school of drama. He is also a visiting

lecturer at the New Jersey Institute of Technology.

David brings a musician’s ear to all of the

performance facilities he designs. He is currently

active in the New York Symphonic Arts Ensemble

as a trumpet player. He has a Master of Science

in Acoustics from Pennsylvania State University,

and a Bachelor of Science in Engineering from

Columbia University.

Curtis Kasefang

Curtis Kasefang has designed, equipped and

operated performance spaces throughout North

America since 1990. Trained as a theatrical lighting

designer, with additional training in sound

system engineering, information technology,

and process modeling, Curtis brings a unique

skill set to the theatre design process. He is

particularly attuned to the impact of decisions

on the operation and maintenance of a performance

facility, having worked previously as a

production manager and technical director of a

multi-theatre complex.

Curtis co-founded TCC in 2003. He previously

worked for Public Assembly Consultants and

Theatre Projects Consultants, where he was instrumental

in setting up the lighting and sound

departments of the firm’s U.S. office.

Curtis spent several years as facility manager

and technical director for the SUNY Purchase’s

Performing Arts Center where they hosted 800

events per year, as production manager for

Pepsico Summerfare, an international performing

arts festival, and as a freelance technical

specialist.

He served four years as chair of the Raleigh

Historic Development Commission. In this role,

he has contributed to the City’s comprehensive

plan and uniform development ordinance. He

authored a pair of articles on sustainability that

appeared in Live Design.

Nico Kienzl

As a director of Atelier Ten and leader of its

global energy analysis practice, Nico consults

on a wide variety of large scale residential, commercial

and institutional buildings, as well as on

masterplan and renovation work in the United

States, Europe, and the Middle East. Nico has

particular experience with the application of advanced

building analysis for facade optimization,

daylight and shading analysis, and optimization

of building systems.

Larry Kirkegaard

Mr. Kirkegaard has consulted on a significant

number of the world’s performing arts facilities

designed or renovated over the past forty years.

He has been a pioneering figure in the field of

architectural acoustics, helping to redefine the

relationship between music and architecture

- achievements recognized by the Acoustical

Society of America, American Institute of Architects,

United States Institute for Theatre Technology,

and conductors and musicians around the

world. His liberal arts background, musical interests,

architectural training and extensive construction

experience provide a comprehensive

basis for his consulting practice; a philosophy

of approach that has defined the relationship

between the firm and its clients since 1976.

He has lectured internationally before a wide

variety of groups including the International

Congress on Acoustics, the Acoustical Society

NATEAC Panelists

of Iran (Tehran, Iran), the Mid-East Technical University

School of Architecture (Ankara, Turkey),

the Acoustical Society of Japan, the Association

of Lutheran Church Musicians, the League of

Historic American Theatres, the U.S. Institute of

Theatre Technology, the Illinois Theatre Association,

the Music Educators’ National Conference,

the Construction Specifications Writers’ Institute,

and the Architectural Schools at Harvard, UCLA,

Minnesota, Wisconsin, and Illinois.

Mitchell Kurtz

Mitchell Kurtz is an architect that specializes in

performing arts facilities. His firm has designed

numerous professional theaters in New York City

including Playwrights Horizons, New York Theatre

Workshop, Signature Theatre, and the Cherry

Lane Theatre. The firm has just completed a new

scenery and costume shop for New York Theatre

Workshop and is at work on a new theater at the

Stamford Center for the Arts, rehabilitation and

additions to the Amphitheater at the Chautauqua

Institution, master planning and renovations for La

MaMa ETC, continuing restoration and rehabilitation

for the Hecksher Theater at El Museo del Barrio,

and assembly place upgrades at the Public Theater.

Jules Lauve

Jules Lauve is a principal consultant in Theatre

Projects’ US office. His responsibilities include

project management, consultation on theatre

design issues and design of performance equipment

systems and advice on facility management

and operations. Jules has more than thirty years of

experience in the entertainment industry. He has

been an entertainment operations manager for

numerous large-scale projects, and has designed

scenery and lighting for a wide range of productions

including theatre, opera, ballet, and family

arena tours.

Jules came to Theatre Projects from Las Vegas

where, as Jules Lauve Entertainment, he produced,

managed, and represented entertainment

products for numerous clients. He was also director

of entertainment for the Treasure Island Casino

Hotel in Las Vegas from before start-up through

more than six years of daily operations.

Some of Jules’ recent projects include: AT&T

Performing Arts Center, Winspear Opera House

Dallas, TX, City of Dreams, House of Dancing Waters

Theatre Cotai Strip, Macau, China, and Palacio

De Bellas Artes Mexico City, Mexico

Jules was a principal member of the National

Fire Protection Association’s Special Effects Technical

Committee responsible for NFPA standards

160 and 1126. He holds degrees from the University

of Southern California and Stephen F. Austin

State University.

Mark Loeffler

A director of Atelier Ten and head of the New

Haven office, Mark is an accomplished lighting

and environmental designer. Emphasizing integrated

and resourceful design to enhance the

visual experience of buildings, he has lectured

widely and consulted on many significant green

building projects both in the United States and

abroad. Mark started his career as a theatre

lighting designer and has consulted on many

performing arts projects.

NATEAC • 2012 • www.nateac.org 15


NATEAC Panelists

Robert Long

In over 25 years of practice as a theatre consultant,

Robert Long has been involved in the

programming, planning and design of virtually

every type of building for the performing arts. His

extensive experience encompasses performance

spaces for drama, music and dance, ranging from

initial planning studies to the completion of major

performing arts centers, and includes professional

as well as educational facilities.

Robert began his theatre consulting career in

the office of George C. Izenour. He subsequently

spent two years as a theatre planner with Artec

Consultants, specializing in stage lighting and rigging

system design. For three seasons, he was a

member of the stage production department of

The Juilliard School at Lincoln Center.

Before co-founding Theatre Consultants Collaborative

in 2003, Robert was a principal consultant

with Theatre Projects Consultants - the first

American employed by the firm - where he played

a key role in the development of many of TPC’s

projects during his twenty-one year association.

Recent experience includes the Kenan Music

Building for the University of North Carolina at Chapel

Hill; the Puerto Rico Conservatory of Music in

San Juan; the new Durham Performing Arts Center;

and, a new studio theatre for KLRU-TV’s Austin City

Limits. Robert is also providing on-going institutional

planning services for the Lower Manhattan

Development Corporation for the World Trade

Center Ground Zero Cultural Program.

Robert is a member and former president of

the American Society of Theatre Consultants.

He holds an MFA degree from the Yale School of

Drama. He currently teaches at the University of

North Carolina.

Robert Lorelli

Robert A. Lorelli is the president of Robert Lorelli

Associates, Inc. He is a Mechanical Engineer

and has a diversified backgrounds in theater.

He worked as a Chief Engineer for the Joe Vasconcellas

Company, one of the largest theater

equipment manufacturers in the world. There

he was responsible for the design, manufacture

and installation of various theatrical equipment

systems and movable structures for performing

arts facilities throughout the world. He was also

the Director of Operations for New York City Center

of Music and Drama.

In 1991, he established Robert Lorelli Associates,

Inc. after being a partner in the firm of Brannigan

• Lorelli Associates, Inc. for 25 years. Among

his firm’s projects are: The North York Performing

Arts Centre - North York, Canada, The University

of Florida Performing Arts Center -Gainesville,

Florida; The Carolina Theatre - Durham, North

Carolina; Auditorio de Convenciones - Tuxtla,

Mexico; Okaloosa • Walton Community College

Instructional Arts Center - Niceville, Florida; Place

des Arts - Montreal, Quebec; Saratoga Performing

Arts Center, Saratoga, New York; Benedum

Center for the Performing Arts - Pittsburgh,

Pennsylvania; Carnegie Hall - New York, New York

and The Performing Arts Complex for American

University - Cairo, Egypt.

Michael Maag

Michael K. Maag is the Lighting Department

Manager at the Oregon Shakespeare Festival.

Michael is also the chief automated lighting programmer

and visualist at OSF. Michael currently

performs improvisational video with the group

Sonoluminescence. Before his 9 years at the OSF

he was the Master Electrician at Seattle Repertory

Theatre and a freelance lighting designer.

Michael has worked as a lighting designer,

master electrician, programmer, visualist, and

pyrotechnician from Florida to Washington

and just about everywhere in between.He is a

member of the United States Institute of Theatre

Technology, and IATSE Local #15. Michael holds

a BS in Technical Theatre from the University of

Northern Colorado.

In August of 2003 Michael was training for a

bicycle race in rural Oregon and was struck by a

car. A spinal cord injury at T-9 vertebrae has left

him paralyzed. He now gets to work with wheels

under him all the time. Michael was an early recipient

of a grant from Behind the Scenes. They

contributed to Michael’s motorized wheelchair,

which he gratefully uses like the smallest electric

car in town.

Andy McArthur

Andy McArthur serves as Sales Manager for

J. R. Clancy, North America’s oldest theatrical

rigging business, with overall supervision of

Clancy’s worldwide sales efforts. Mr. McArthur’s

role marks a return to Clancy where he served as

Senior Project Manager in the 1990’s. Prior to his

return to Clancy, Mr. McArthur was president of

ECCS, Inc., where he served as principal consultant

or Lead Project Manager on projects including:

The Smith Center for the Performing Arts, the

showroom at Beau Rivage Hotel and Casino in

Biloxi, Mississippi; Copley Symphony Hall in San

Diego; St. Elizabeth Ann Seton Roman Catholic

Church in Las Vegas; Val A. Browning Center for

the Performing Arts in Ogden, Utah; and many

others. McArthur is an ETCP certified rigging

professional, a member of IATSE Local 9, and he

served on the board of directors of the Las Vegas

Performing Arts Center.

Molly McGowan

Molly McGowan is an Associate Partner in

Ennead Architects, an internationally-acclaimed,

170-person NYC studio known as one of the

nation’s preeminent designers of spaces for the

performing arts, including Carnegie Hall, New

York City Center, The Public Theater and Samuel

J. Friedman Theatre for Manhattan Theatre Club.

Ms. McGowan has served as Project Manager

for many of the firm’s complex projects for performing

arts, media and technology facilities,

including the Yale School of Drama / Yale Repertory

Theater Site Capacity Study; New York University

Tisch School of the Arts, Institute of Performing

Arts Master Plan and Concept Design;

Allegheny College Vukovich Center for Communication

Arts and WGBH Public Broadcasting

Station Headquarters. The essential relationship

between project management and ultimate

project success has always been central to Ms.

McGowan’s approach to architecture. Through-

out the planning, budgeting, design and construction

process, her management style values

and fosters a collaborative environment marked

by open communication, trust and shared vision.

Her skilled approach, including excellent communication

and organizational skills, ensures a

deeply collaborative relationship with client and

consultant team, resulting in timely, efficient and

successful project delivery.

Ms. McGowan received a Bachelor of Arts

degree from University of Pennsylvania and a

Master of Architecture degree from Columbia

University. She is a member of the American

Institute of Architects.

Gregory Miller

Gregory Miller is one of the founding Principals

of Chicago-based Pin Drop Acoustics, with

more than fifteen years of acoustics design experience.

Over his career, Greg has developed a

keen understanding of the ways that sound can

help connect people to one another. His performance

space designs reflect this understanding,

fostering an intimate connection between

performer and audience while also providing a

sense-of-space that is the unique to the experience

of live performance.

Greg’s current work includes renovations

to the Geva Theatre Center in Rochester, the

McAninch Arts Center outside of Chicago, and

College Church in Wheaton, and the design of

the new Auditorium at PNC Tower in Pittsburgh.

Prior to founding Pin Drop, Greg was the acoustics

department manager at Talaske, where he

managed the design of the Guthrie Theater in

Minneapolis, the Harman Center for the Arts in

Washington DC, Wentz Concert Hall near Chicago,

and Playhouse on the Square in Memphis.

After developing an early love for acoustics

by playing the violin in different halls around the

Baltimore area, Greg studied mechanical engineering

at The Cooper Union. Greg has applied

this combined passion for both the subjective

and scientific aspects of acoustics to over 400

projects worldwide.

Anne Minors

Anne has designed over 100 rooms for concerts,

opera and theatre over the last 27 years.

As a theatre consultant and subsequently

head of design at Theatre Projects Consultants

between 1984-95, Anne was instrumental in a

number of national and international projects including

- Cerritos Centre for the Performing Arts,

Los Angeles; Glyndebourne Opera House; Chan

Centre, Vancouver; Escondido Centre for the

Performing Arts, California; Walt Disney Concert

Hall, LA; Lowry Centre, Salford and Singapore

Arts Centre.

Anne Minors Performance Consultants (AMPC)

was founded in 1996 after being invited to carry

out the role of in-house theatre design consultant

to the Royal Opera House, Covent Garden and

Dixon Jones BDP architects. Other key AMPC Projects

have included – The Barbican Theatre Refurbishment;

Palace of Peace Opera House, Kazakhstan;

Royal Conservatory of Music, Toronto; The

Egg Children’s Theatre, Bath, Garsington Opera

Pavilion at the Wormsley Estate and the feasibility

study for the RSC’s Courtyard Theatre.

16 www.nateac.org • 2012 • NATEAC


Anne is past-Chairman of the Society of Theatre

Consultants where she helped instigate

the creation of a professional qualification for

Theatre Consultants – MA Theatre Consulting

at the University of Warwick for which Anne is

also a founder member. Anne also organises a

children’s’ summer club in London to promote

the arts among young people.

Joe Mobilia

Joe Mobilia has a degree in Visual and Environmental

Studies from Harvard University. He had

been designing scenery when he joined Fisher

Dachs Associates in 1977. As head of FDA’s rigging

and stage machinery department, Joe has

worked on every FDA project: over 500 in his

35 year career, including multipurpose theatres,

concert halls, road houses, amphitheaters, and

cruise ships. A measure of Joe’s longevity is that

30 years ago he worked on the Broward Center

for the Performing Arts, and he is now working

on its renovation. Joe is also a project manager

at FDA. Projects include civic centers such as the

New Jersey Performing Arts Center and the Oklahoma

City Civic Center Music Hall, and a number

of historic theatre renovations - his favorite being

Radio City Music Hall. Joe returned to Harvard

as the principal consultant for Farkas Hall, the

renovated and reconstructed Hasty Pudding

Theatre; this joins college and university projects

at Georgetown, Princeton, Wellesley, Western

Connecticut State University, and the University

of Northern Iowa. Joe is pleased to have been

FDA’s project manager for the recently completed

Claire Tow Theatre at Lincoln Center. He

is a member of the American Society of Theatre

Consultants.

Shawn Nolan

Shawn started his 30+ year career in technical

theatre and became a Licensed Engineer in 2001.

He founded ESG in 2001 and NES in 2008, providing

engineering services for entertainment.

Engineering work has included theatre building

analysis (Broadway & beyond); structures for the

X-Games and outdoor roof supporting 200,000+

pounds. Structural and mechanical engineering

includes projects for Brown United, Cirque du

Soleil, J.R. Clancy, FTSI, H&H, I. Weiss, Mountain

Productions, Sapsis Rigging, Secoa, Serapid,

Stage Technologies and many others. Projects

have included conventional and automated rigging,

effects, grids, hoist design and extensive

aluminum analysis. He has worked with PLASA

to develop ANSI Standards and on the ETCP

Arena Rigging test.

Carol Ochs

Carol Ochs has worked in the non-profit

theater community for over 25 years. She is currently

the executive director of The 52nd Street

Project, a position she has held for the last 20

years. The 52nd Street Project is an organization

that brings inner-city children together with

professional theater artists to create theater.

With the Project, Carol has produced hundreds

of plays with hundred of volunteer artists such as

Frances McDormand, James McDaniel, Charles

Fuller, Billy Crudup, and Edie Falco. In October

1998, the Project was honored with one of the

inaugural Coming Up Taller Awards presented by

the President’s Committee on the Arts and the

Humanities. The first Coming Up Taller Awards

recognized ten mentoring programs from

throughout the country and grew from a national

report examining exemplary community arts

programs serving at-risk youth. Her most recent

accomplishment at The 52nd Street Project was

the completion of a $20 million dollar capital

campaign and construction of a brand new theater

and home for the kids of Hell’s Kitchen. Carol

came to the Project from Lincoln Center Theater

where she worked for five years as assistant

general manager. Previously, she was director of

marketing and development for the Ark Theater

Company of Soho. She holds an MFA in Theater

Management from the Yale School of Drama and

has taught there. She is a board member of the

Human Arts Association, of ART/NY and has sat

on the Nancy Quinn Fund and NYC Department

of Cultural Affairs grants panels.

Katie Oman

Katie is a consultant with over ten years’ experience

in strategic planning, performing arts

facilities programming, project management, and

consulting for public, private, domestic, and international

projects. Katie’s clients include Lincoln

Center for the Performing Arts, Seattle Repertory

Theatre, the National Music Center of Canada, and

Reed College. Her experience includes extensive

work on green design and planning, with a special

emphasis on ecologically sustainable building for

arts and culture. Katie leads the west coast office

of Fisher Dachs Associates.

She is a skilled project manager with deep experience

generating consensus among diverse

constituencies, managing complex planning

processes, and advancing large projects to meet

time and cost goals. Her experience facilitating

teams and making unfamiliar ideas palatable to

stakeholder groups makes her an ideal collaborator.

She has experience in architectural design,

performing arts management, fundraising, and

sustainable building, all of which inform her

consulting practice.

Katie holds a degree in Architecture from

Princeton University and is a LEED-accredited

professional and a Certified Sustainable Building

Advisor. She loves dogs, cooking, wooden

boats, adaptive reuse, and Gantt charts. Despite

a demonstrated inability to sing, she is the Vice

President and Development Chair of Seattle Pro

Musica, an award-winning choral organization.

Richard Pilbrow

Richard Pilbrow, Founder of Theatre Projects

Consultants, is one of the world’s leading theatre

design consultants, a stage lighting designer and

author. He has been a theatre, film and television

producer. He founded Theatre Projects in

London in 1957. Under his leadership, Theatre

Projects has become the pre-eminent theatre

consulting organization in the world.

Pilbrow was chosen by Laurence Olivier to be

theatre consultant to the Royal National Theatre

of Great Britain. He was also consultant to the

Royal Shakespeare Company; The Royal Opera

House, Covent Garden; and many other signifi-

NATEAC Panelists

cant arts buildings in throughout the world. Mr

Pilbrow was the first British lighting designer

to design the lighting for a Broadway musical,

Zorba. On Broadway he was lighting designer

for Rosencrantz & Guildenstern Are Dead, The

Rothchilds, Four Baboons Adoring The Sun (Tony

Award nomination), the Hal Prince hit revival of

Show Boat (Drama Desk Award, Outer Circle Critics

Award-lighting), and the Cy Coleman musical

The Life (Tony Award nomination). He was lighting

designer for Our Town with Paul Newman

on Broadway and hi-definition video for PBS;

American Ballet Theatre’s Sleeping Beauty at the

Metropolitan Opera (with Dawn Chiang), and

A Tale of Two Cities (2008 Drama Desk Award

nomination.) Most recently, Molly Sweeney and

Dancing at Lughnasa by Brian Friel at the Irish

Repertory Theatre with Michael Gottlieb.

Published in 1970, his book, STAGE LIGHTING,

foreword by Lord Olivier, became a standard international

text, also published in China. STAGE

LIGHTING DESIGN, THE ART, THE CRAFT, THE

LIFE, foreword by Hal Prince, was published in

1997. In 2003 Mr. Pilbrow co-authored (with

Patricia MacKay) THE WALT DISNEY CONCERT

HALL — THE BACKSTAGE STORY. In 2006 he contributed

the chapter on auditorium design to

Building Type Basics for Performing Arts Facilities

published by Wiley & Sons. In 2011, his book, A

THEATRE PROJECT was published, both in print,

and as an interactive eBook.

In 2005 Richard was honored as Lighting

Designer of the Year by Lighting Dimensions

magazine. He was named as one of the ten visionaries,

who were the most influential people

in the world of visual design for live events. In

2010 LiveDesign voted Richard «one of the 50

most powerful people in the entertainment

technology industry.» In 2011, Richard was

honored with the 4th Knights of Illumination

Lifetime Recognition Award. In 2012 he was also

awarded the Southeastern Theatre Conference

2012 Distinguished Career Award.

Eddie Raymond

Eddie Raymond is the Vice President of IATSE

Local 16 and currently employed by the local as

an assistant to the Business Agent with a primary

focus on training and organizing. His career has

included working for the American Conservatory

Theater as well as variety of other employers

including many stints at Industrial Light and

Magic. He is Chairman of PLASA operating in the

North American region and on the ETCP Certification

Council.

Jonathan Resnick

Jonathan grew up in Pleasantville, NY, attended

Brown University then worked 11 years

in the television news business at WLNE, WBZ-TV

in Boston and was the original News Editor for

the CNBC network. Jonathan officially joined the

family business at Barbizon late in 1990. During

his tenure Barbizon’s entertainment and architectural

lighting sales, distribution, and installation

operations has grown to 14 offices on four

continents. In 1999, he instituted an Employee

Stock Ownership Plan in the company which

gave the employees of the Barbizon Lighting

Company, ten percent ownership. Barbizon

NATEAC • 2012 • www.nateac.org 17


NATEAC Panelists

distributes over 500 manufacturers and stocks

20,000 products for same day or overnight service.

Barbizon Systems Integration team of over

65 people, are responsible for the installation of

lighting and control systems, rigging, project

management and design build for Theater, Television,

Houses of Worship, Retail, Architectual

and Themed environments.

Jonathan is an avid soccer coach/player and

really wishes he had the talent of Lionel Messi.

Peter Rosenbaum

Peter, who joined FDA in 1994, is both a designer

and project manager with a wide range

of completed projects including experimental

theaters, cruise ships and more conventional

performing arts centers. Most notable is his

work on special projects that require flexibility

in thinking and a broad range of knowledge to

meet unexpected challenges.

Recently completed is the renovation of both

Alice Tully Hall and The Juilliard School at Lincoln

Center in New York City with Diller Scofidio +

Renfro in collaboration with FXFOWLE Architects,

the new Lincoln Center Film Society theatres

with Rockwell Group, and the Experimental

Media and Performing Arts Center (EMPAC) at

Rensselaer, with Grimshaw.

Current work includes project management

for the Park Avenue Armory with Herzog and

de Meuron, the Smithsonian National Museum

of African American History and Culture with

Adjaye, and the new Sylvan Amphitheatre at

the Washington Monument Grounds with Weiss

Manfredi.

Other ongoing projects include work at Columbia

University with Renzo Piano Building

Workshop and Davis Brody Bond.

Peter received his B.A. magna cum laude at

Harvard in Visual and Environmental Studies (architectural

design) and his M.A in Architecture

from Columbia University. He is also an Associate

of the AIA.

David Rosenburg

David H. Rosenburg is a director in Theatre

Projects’ US office. His responsibilities include

project management and the coordination of

design and production equipment issues with

clients, architects, design team members, contractors,

and manufacturers.

Recent projects include:

• Cobb Energy Performing Arts Centre Atlanta, GA

• James Madison University Center for the Arts

Harrisburg, VA

• Walt Disney Concert Hall, Los Angeles Music

Center Los Angeles, CA

David has an extensive background as a

theatre lighting designer, technical director

and stage manager. For fifteen years he toured

worldwide with a number of prominent dance

companies. Some of his lighting designs can be

seen in the repertories of The Alvin Ailey American

Dance Theatre, Donald Byrd/The Group,

The Dance Exchange, Le Conservatoire National

Superior de Paris, Atlanta Ballet, and Oregon

Ballet Theatre. He also designed the lighting for

the premiere of the highly acclaimed Harlem

Nutcracker for Donald Byrd.

He is a member of the American Society of

Theatre Consultants (ASTC) and United Scenic

Artists, Local 829, and is a founding member of

the Boston Alliance of Theatrical Artists. David

received his Master of Fine Arts and Bachelor of

Fine Arts degrees from Boston University.

Virginia Ross

Virginia Ross is a Director of Williams Ross

Architects in Melbourne, Australia. Williams

Ross have designed and built over 20 theatres

in Australia and New Zealand and investigated

feasibility and master plans for many more. The

Drum Theatre, Melbourne, and the Oamaru Opera

House redevelopment in New Zealand have

received Institute of Architects Awards for public

architecture and heritage in each country.

Virginia is co-author of the Australian design

and technical benchmarks for performing

arts centres, a theatre design reference used

throughout Australia. She leads theatre design

at Williams Ross specialising in master planning

and functional design briefs. In 2011 she was a

jury member for the Prague Quadrennial Theatre

Architecture Competition. She is particularly interested

in contemporary theatre forms.

She is currently studying professional writing

and editing.

Virginia was born in New Zealand and debuted

on the repertory theatre stage at 18

months, but declined to read the reviews. Her

stage career peaked early at ten, when she was

banished to the orchestra pit. She knows nothing

about rugby but is learning a lot about sheep

since getting a flock of six black-faced Suffolks.

Monona Rossol

Monona Rossol is a Chemist and Industrial

Hygienist with a speciality in the arts. She holds

three degrees from the University of Wisconsin -

Madison: a BS in Chemistry with a Minor in Math;

and MS and MFA degrees in Art with a Minor in

Music. Born into a Vaudeville family, her over 70

years of theatrical experience includes: variety

performer from ages 3 to 17; College operas,

musicals and recitals; summer stock and civic

opera performances in the Midwest; and Off

and Off-Off Broadway and Cabaret in NYC. Since

1977, her day job has been Industrial Hygiene. In

1986, she founded the nonprofit: Arts, Crafts &

Theater Safety (ACTS). In 1995, Monona also became

the Safety Officer for Local USA829, IATSE.

She has written 9 books including the Health &

Safety Guide for Film, TV & Theater. Her work for

ACTS has included OSHA/EPA compliance and

industrial ventilation specifications for over 50

performance and fine arts buildings countrywide.

She is frequently retained as an expert witness

including by the US Department of Labor to

defend a contested OSHA fall protection citation

of a theatrical company and by the Defense for

the Rhode Island nightclub fire pyrotechnician.

Steven Roth

Steven Roth is President of The Pricing Institute,

an international consultancy servicing the

cultural sector. The Pricing Institute uses datadriven

analysis to help clients maximize income

and optimize occupancy. Pricing Institute partners

have conducted close to 300 pricing studies

worldwide.

Steven teaches Customer Relationship Marketing

(CRM) at the Boston University Graduate

School of management, and has co-authored

three studies on CRM published by the Direct

Marketing Association. He is a frequent speaker

at industry conferences, has been a guest lecturer

at the numerous colleges and universities.

Steven is Board Chair of ArtsBoston, a

170-member audience development organization.

He began his career as the Marketing

Director of The Shubert Organization, where he

oversaw marketing efforts in all Shubert houses,

managed subscription series in four cities, and

was part of the team that developed Tele-Charge.

Steven earned a B.A. in English and Theater

from Oberlin College and an M.B.A. with high

honors from Boston University.

Joel Rubin

Joel Rubin brings to consulting projects both

extensive experience in project management

and specialist knowledge in the fields of theatre

planning, the accommodation and design

of specialized theatrical equipment, as well as

architectural lighting, and lighting control. Dr.

Rubin’s earlier work as Executive Vice-President

of the famous Kliegl Bros. Lighting and subsequently

over a decade as Principal Consultant,

Project Manager and Managing Director of Artec

Consultants provides him with unique experience

in the consulting discipline. Joel E. Rubin

& Associates as a full-service consulting firm was

established in 2005.

Dr. Rubin holds the B.S. Degree in Engineering

from Case Western University, an MFA from

the Yale School of Drama, and the Ph.D. in Engineering

and Theatre from Stanford University.

He is the co-founder and a Past President of the

United States Institute for Theatre Technology

(USITT) and Founding Chair and Chair Emeritus

of its International Commission. He was the

United States Representative and founding

member of the International Organization of

Scenographers, Theatre Architects, and Theatre

Technicians (OISTAT), the UNESCO-related international

organization with national centers in 35

countries; and served for eight years as President

of that organization.

Awards and Honors include the Annual USITT

Founders Award given in his name. He holds

the Gold Key of the OISTAT. He is a Fellow of the

College of Fellows of the American Theatre, the

American Educational Theatre Association, and

the United States Institute for Theatre Technology

where he is also Lifetime Honorary Member.

His biographical profile appears in Who’s Who

in America. Dr. Rubin is co-author of Theatrical

Lighting Practice, and he is the author of The

Technical Development of Electric Stage Lighting

Apparatus in the American Theatre, which

is considered a standard reference. He has also

authored or co-authored several score articles

on theatre architecture and technical theatre

appearing in a wide range of international

publications.

18 www.nateac.org • 2012 • NATEAC


Karl Ruling

Karl G. Ruling is the Technical Standards

Manager for PLASA, the international trade association

for the live entertainment industry. He

administers PLASA’s ANSI-accredited Technical

Standards Program and writes about standards,

legislation, technical issues, and trade shows for

Protocol and Standards News. When time permits,

he designs lighting, scenery, and special

effects for theatrical events, and edits English

translations of foreign standards and lighting research

papers. Ruling holds an Master of Fine Arts

degree from the University of Illinois at Urbana-

Champaign, and a Bachelor of Arts degree from

the University of California at Santa Barbara with

majors in Dramatic Art and Psychology. He is a

member of the Illuminating Engineering Society

of North America, the National Fire Protection

Association, and the United States Institute for

Theatre Technology.

John Runia

A theatre designer and partner in Theatre

Projects Consultants, John has worked on a wide

range of performing arts facilities in the past several

decades. With a degree in architectural science

and LEED AP credential John is interested

in the process of how to create better facilities

that give arts groups the most for their money.

Francesca Russo

Francesca Russo Architect directs a small

creative design firm, providing clients with

professional services for new and existing buildings.

With a portfolio of built work ranging from

multi-million dollar to smaller budget projects,

the firm is well versed in detailing, sensitive to

client needs and experienced in projects for restoration

and new construction.

FRA was the restoration architect for the recent

interior restoration of the Booth Theatre.

Prior to that, the firm provided architectural

services for twelve additional historic theatres

including the Belasco, Barrymore, Winter Garden

and Music Box Theatres. Several of the projects

have received awards. The shared goal of these

projects was to develop restoration plans for

the theatres while responding to contemporary

production needs. The firm also provided services

for modification and additions to Studio 54

including the design of an innovative orchestra

platform system that provides seating for both

traditional theatre and cabaret use.

The firm’s current projects include the interior

restoration of the classic Cort Theatre, several

residential projects, an artists’ studio and continued

phases of restoration for a 19th Century

Carpenter Gothic Church for community use.

Peter Scheu

Peter Scheu has over 30 years of varied experience

in the technical theatre industry, and since

opening Scheu Consulting Services in 2001

has consulted on several dozen high schools,

university, and professional venues. A member

of the ASTC and USITT, he also serves on several

committees within PLASA’s Technical Standards

Program, working to develop ANSI standards for

theatrical production equipment and systems.

Peter is also a Theatre Rigging Subject Matter

Expert for the ETCP. Prior to 2001, he served for

12 years as a Project Manager and Systems and

Equipment Designer at JR Clancy, where he directed

the design, manufacture, and installation

of stage equipment systems in hundreds of venues

large and small. During that time, he was also

involved in the design and installation of Concert

Shells, Orchestra Lifts, Adjustable Acoustics, and

Stage Lighting Systems. Prior to 1989, he was the

Special Events Manager at Syracuse University

and the Production Manager at an IATSE Scene

Shop in Syracuse, NY. He also served as Technical

Director and Production Stage Manager for

the Indianapolis Opera, Opera Memphis, and

the Syracuse Opera, provided the lighting designs

for many regional opera productions and

supervised the construction, rental, and touring

of opera scenery.

Vijay Sehgal

Vijay Sehgal AIA is a registered architect with

the State of California and received his Master of

Architecture Degree from UCLA and his Bachelor

of Architecture Degree from Chandigarh

College of Architecture, Chandigarh, India. Vijay

has been involved in the profession of architecture

for more than 20 years and has extensive

national and international design and construction

experience on educational, cultural, arts and

entertainment projects

Much of Vijay’s professional career has involved

the design and construction of performing arts

theatres in educational, civic and entertainment

settings for public agencies, educational

institutions, non-profits and private clients. Also,

Vijay has served as FSY’s in-house acoustician for

some of its cultural facilities. He has designed the

variable acoustics systems for the Lincoln High

School Performing Arts Theatre, Shady Side

Academy, Washington Boulevard Performing

Arts Center, Boston Court Theatre and Recital

Hall, Old Town Temecula Community Theatre,

the Orange County High School of the Arts, San

Jacinto High School Theatre and the Welker Recital

Hall. Currently, he is directing work on the

Saugus High School Performing Arts Theatre and

the Vision Theatre/Manchester Jr. Arts Center,

both located in Southern California.

Vijay’s commitment to «green» building runs

deep within his philosophy of maintaining and

creating a healthy living environment for future

generations. He currently serves on the executive

board of the American Institute of Architects,

Pasadena and Foothill Chapter and the South

Pasadena Education Foundation, and is a member

of the UCLA Alumni Association, Southern

California Development Forum, National Trust of

Historic Preservation, Los Angeles Conservancy,

Urban Land Institute and Asian American Architects

and Engineers.

Adam Shalleck

Adam is nearing 25 years of theatre consulting,

coming from an education in architecture

coupled with work in technical theatre. He spent

a summer at ARTEC Consultants in 1989 after a

year-long internship with S. Leonard Auerbach &

NATEAC Panelists

Associates, to which he would return for another

14 years. He became a licensed architect and

Principal along the way and spent the entirety of

his career equally steeped in the conception, design

and implementation of auditoria and other

performing arts and entertainment spaces, and

technical production systems.

Adam founded The Shalleck Collaborative

in 2003, and has since worked on nearly 150

projects of all scales and types. He also serves on

the Advisory Board of the Virginia Tech School of

Architecture + Design (his alma mater) and has

authored articles and presented at several conferences

including NATEAC 2008.

George Shaw

George Shaw is a Partner at LMN Architects,

a Seattle design firm focused on architecture,

interiors and urban design. He is responsible

for leadership of selected public facility projects

in addition to overall strategic direction of firm

activities. With a strong emphasis on performing

arts programs, he regularly manages large team

collaborations with particular attention to development

of the architectural design and technical

systems as critical aspects of performing arts

programs and multi-purpose functionality. LMN’s

100-person architectural design practice is continually

engaged with the integration of public

facility programs with the broader public realm

experience, and the firm has designed more than

40 performing arts projects in 23 cities across the

nation. Examples of current projects include the

Tobin Center for the Performing Arts in San Antonio,

the San Francisco City College Performing

Arts Center and the University of Iowa’s School of

Music. George received his architectural education

at the University of California, Berkeley, and

is the immediate past President of AIA Seattle.

Robert Shook

Robert Shook is a founding partner in the

Chicago office of Schuler Shook. He began

his career as a theatre lighting designer and

designed over 180 productions for theatre companies

such as Goodman, Steppenwolf, Victory

Gardens, Chicago Shakespeare, Milwaukee Rep,

and Indiana Rep. He founded Schuler Shook

with Duane Schuler in 1986, and the company

now has offices in Chicago, Minneapolis, Dallas,

and Melbourne. Among his favorite projects

are the David H. Koch Theatre in Lincoln Center,

Marion Oliver McCaw Hall in Seattle, Hamer Hall

in Melbourne, and Ravinia Festival, Pritzker Pavilion,

Victory Gardens Theater, Lookingglass Theatre,

and the Old Town School of Folk Music in

Chicago. He has presented numerous seminars

for USITT, International Theatre Engineering and

Architecture Conference, North American Theatre

Engineering and Architecture Conference,

Theatre Communications Group, and the IAVM

Performing Arts Managers Conference. He is on

the Advisory Board of the North American Theatre

Engineering and Architecture Conference.

NATEAC • 2012 • www.nateac.org 19


NATEAC Panelists

Narelle Sissons

Ms Sissons, originally from Britain, has worked

with many distinguished directors such as

Lee Breuer, David Schweizer, Moises Kaufman,

Bartlett Sher, Leigh Silverman, Mladen Kiselov,

Susan Shulman and John Patrick Shanley. Her

work has been produced at many venues from

non-traditional site specific spaces to classic national

and international venues.

Her work has been seen on Broadway: ‘All My

Son’s’ at The Roundabout Theatre.

Off Broadway: ‘How I Learned To Drive’, original

production, also ‘Stop Kiss’, ‘In The Blood’, ‘Kit

Marlowe’, ‘Julius Caesar’ (Delacorte, Central Park)

and ‘Little Flower of East Orange’ at the Joseph

Papp Public Theatre. Mabou Mines ‘DollHouse’, at

St Anne’s Warehouse. Also in NYC many productions

with: LAByrinth, Light Box at 3LD’ experimental

space, Playwrights Horizons, New York

Theatre Workshop, Culture Project, Epic Theatre

Ensemble and Classic Stage Company.

International: ‘Jesus Hopped the A Train’, directed

by Philip Seymour Hoffman at the Edinburgh

Festival and the Arts Theatre in the West

End, London. Mabou Mines ‘DollHouse’, directed

by Lee Breuer at the Edinburgh Festival, Russia,

Europe and Asia. ‘The Syringa Tree’, in Vienna,

Austria and Frankfurt, Germany. ‘No Child’, at the

Edinburgh Festival. ‘The Increased Difficulty of

Concentration’ at the Kings Head in London

Upcoming: ‘The Life of Galileo’, by David Hare,

Theatre Baltic House, St Petersburg, Russia, ‘A

Street Car Named Desire’, in Tallinn, Estonia and ‘I

Pagliacci’ for Mill City Opera, at the old mill museum

ruin in Minneapolis.

Recently: Opera, ‘Der Ferne Klang’ at the Sosnoff

Theatre, Bard SummerScape directed by

Thaddeus Strassberger and Leon Botstein.

Nominations/awards: Drama Desk, Helen

Hayes, American Theatre Wing, Kevin Kline

Award, Back Stage West Award, Elliot Norton

Award and USA Exhibitor at Prague Quadrennial

2007 and 2011.

Ms Sissons is an Associate Professor and Cocoordinator

of Design at Carnegie Mellon School

of Drama, where her interest lies in the holistic

nature of live performance making.

Fred Smith

Mr. Smith has over 35 years of experience

working in the entertainment and theater industry.

His mechanical engineering experience is in

the areas of structural / mechanical analysis and

the design of scenic and entertainment structures,

staging, rigging, buildings, show-action

equipment, amusement rides, and other frameworks.

Some of his recent work with Mclaren Engineering

includes Wynn Macau Kinetic Atrium’

for Steve Wynn’s Hotel /Casino located in Macau,

China; Cirque du Soleil’s ‘KA’, MGM Grand Hotel /

Casino Showroom, Las Vegas, Nevada.

For Olaf Sööt Associates PC he provided mechanical

engineering services for the United Na-

tions, NYC; Cirque du Soleil at Bellagio, Las Vegas

NV and Radio City Music Hall.

As a theatre technician he has worked on hundreds

of Broadway shows since 1982.

Sonny Sonnenfeld

Sonny Sonnenfeld has been engaged as a

professional in the theater lighting field since

he got out of the army in 1945. He started with

Century Lighting, now Strand a part of Philips as

a sales engineer. There he became the New York

Area Sales Manager. He then became a founding

partner in Lighting and Electronics. After that be

became a manufacturer’s representative. Then a

consultant to ETC. He is presently a consultant to

City Theatrical Inc. He authored the chapter on T

V Lighting for the Fifth Edition of the NAB Engineering

handbook. He now writes occasionally

for Lighting & Sound America. He as authored

many articles, including The Application of Theater

Lighting Techniques to Architectural Spaces,

Dimmer per circuit, Sell is a four letter word, but,

a good four letter word. Moving Lights., Their

time has come.

He is a past president of the Illuminating Engineering

Society NY Chapter. He is a fellow of

the USITT He founded the N Y Area section of

the USITT. He was on the board of directors for

many years . He started Broadway Lighting Master

Classes and Stage Lighting Super Saturday He

taught architectural lighting at Pratt Institute. He

chaired the IES sub committee for Theater Lighting

of the Theater Television and Film Committee

that produced IES CP 45 «Stage Lighting A Guide

to the Planning of Theatre and Public Auditoriums

, and Lighting for Teleconference Rooms

He was the recipient of the Designers Lighting

Forum’s Honor award in 1997 He also lectured at

the American Management Association.

Peter Svitavsky

Peter V. Svitavsky cut his teeth as a stage

carpenter at shops in Rochester NY. After joining

Adirondack Scenic Incorporated in 1988 he

learned from experts and plied the trade building

scenery for theaters, museums and theme

parks. The union lead him to opportunities as a

stage hand and arena rigger during that time.

Early in the nineties Pete was exposed to the

world of machine design while installing equipment

at Universal Studios in Orlando, and he

returned to school soon after to complete his

degree in mechanical engineering at Rensselaer

Polytechnic Institute. After a period as a design

engineer at Eastman Kodak he was drawn away,

back to the entertainment industry and to the JR

Clancy company where he resides today.

Pete designs, inspects and services equipment

for JR Clancy in places of entertainment wherever

they may be. In his travels he has earned the

license of a Professional Engineer, a membership

with IATSE local 524, several patents, a few scars,

and some great friends.

Steve Sweet

Steve has worked in various fields of the entertainment

industry for over 20 years. He began his

career as a performer doing five national tours with

VEE Corporation. Steve’s technical background is

in rigging. He has worked as a freelance rigging

installer and has installed equipment manufactured

by SECOA, JR Clancy, and Custom Rigging

Systems. He has been an ETCP certified theater

rigger since 2005. As a Production Manager and

Technical Director Steve has opened and operated

many theatrical venues including the Magic

On Ice Theater, and the Palace Theater in Myrtle

Beach, South Carolina. He opened RiverCenter for

the Performing Arts in Columbus, Georgia in May

of 2001 and worked as Technical Director till 2007.

He was then employed with Theatre Projects Consultants

working as a stage equipment designer.

Steve currently resides in Richmond, Virginia and

works as Technical Director for SMG Richmond.

Upon arriving in Richmond he worked with the

design team to oversee the commissioning of all

theatrical equipment for the reopening of the historic

Carpenter Theatre at Richmond CenterStage

for the Performing Arts. His current duties include

supervising all backstage operations for the performing

arts center and Richmond’s touring facility

Landmark Theater. Steve is currently working

with the design team to ensure a smooth integration

of theatrical systems in Richmond’s Historic

Landmark Theater. When not working he likes

to spend his time fly fishing in the Appalachian

mountains throughout the east.

Steve Terry

Steve Terry is the Vice President of Research

& Development at Electronic Theatre Controls,

where he leads the group that is responsible for

global development of new products.

Previously, as the Executive Vice President

of New York-based Production Arts, he was

involved in the engineering and management

of many prestigious installation projects over

the last 25 years including, the lighting renovation

of the Metropolitan Opera House, the Lyric

Opera of Chicago, the Mirage, Treasure Island,

Bellagio, and Wynn hotels and the Fremont

Street Experience in Las Vegas, the Lido de Paris

nightclub in France, “Fantasmic” at Disneyland,

six NBC network television studios, seven cruise

ship showrooms for Holland America Line, and

the Disney/ABC “Good Morning America” studios

in Times Square.

Mr. Terry also maintains an active involvement

in the international lighting industry. He

founded the United States Institute for Theatre

Technology (USITT) National Electrical Code

Committee in 1980 and was its original chair. He

was appointed a member of National Electrical

Code Panel 15 in 1994.

He chaired the USITT Committee that wrote

the internationally-accepted DMX512 standard

for digital communications in lighting systems in

1986. He was inducted as a Fellow of the USITT

in 2006.

Mr. Terry was the founding Co-Chair of the

Entertainment Services and Technology Asso-

20 www.nateac.org • 2012 • NATEAC


ciation’s (now PLASA) Control Protocols Working

Group. This working group recently produced

the ANSI E1.17 Standard--Architecture for Control

Networks (ACN) and ANSI Standard E1.20,

Remote Device Management (RDM). In addition,

this group delivered ANSI E1.11—DMX512-A in

2004, the first major update to the core DMX512

standard in 16 years.

Mr. Terry is currently a member of the PLASA Governing

Body, the PLASA Technical Standards Council,

and the PLASA Electrical Power Working Group.

Jack Tilbury

Having been a founding director of the London

based Theatre Consultancy Charcoalblue

since 2004, Jack moved on in 2011 to set up

Plann Limited.

His career started as a Production Manager in

the theatre industry, primarily for new writing,

tours and outdoor events, but also included

dance, opera, the West End, corporate work, The

RSC and the National Theatre.

He left theatre in 1998 to work as a production

manager on a number of visitor attractions,

including working for Imagination on the Millennium

Dome. In 2001 he joined Theatre Projects

Consultants in London, and in 2004 left with

three colleagues to set up Charcoalblue.

During eight years as the Charcoalblue

Projects Director, Jack managed over twenty

projects in six different countries, opening ten

new or refurbished buildings, and also led the

design and installation of several major projects

at the National Theatre as part of their on-going

Technical Master Plan.

With his new company Plann, Jack is looking

to assist clients with the development, design,

procurement and construction of cultural buildings

and performance spaces; primarily in a Project

Director or Project Management role.

Plans are currently working for a number of high

profile organisations in the UK including The Royal

National Theatre, The Bristol Old Vic, Shoreditch

Town Hall and The Story Museum in Oxford.

Glenn Turner

Glenn Turner has worked in theaters all over

the country from Alaska to Washington, D.C.,

where he has served as Head of Production:

Operations and Maintenance at the Kennedy

Center for the past 15 years. At the Kennedy Center

he has overseen all the capital improvement

projects, including the major overhaul of all of

the primary theaters in the building. He is also

a member of the Kennedy Center Safety Committee.

In addition to his fulltime duties, Glenn

enjoys working with the National Symphony Orchestra

where he has toured internationally and

assisted with their Capital Concert series. Glenn

has also been an associate lighting designer for

many exhibits stretching as far away as Japan. He

has lit several exhibits in the D.C. area, including

the jewels and gems exhibits featuring the Hope

Diamond at the Smithsonian Museum of Natural

History, not to mention lighting George Washington’s

false teeth on three separate occasions.

If not busy in the world of theater, Glenn is most

likely ‘projecting’ around the house and garden

or camping throughout the country with his wife

and their two children.

Arthur van Maurik

Arthur has extensive experience in the world

of Professional Audio applications and Acoustics,

and has an excellent grasp of the way people

perceive and appreciate sound.

During his career he has made significant contributions

to the development and success of a

variety of companies, and has been an integral

part of Acoustic Control Systems supporting the

development and proliferation of effective and

revolutionary acoustical enhancement systems

around the globe.

In addition to electro-acoustics and acoustics

he also been very active in the general aviation

industry and worked on projects such as noise

abatement regulations in the Netherlands,

aviation headsets and the introduction of GPS

navigation. Arthur is an accredited member of

the German Tonmeister organisation (VDT), has

been secretary of the Dutch AES section for over

12 years, and is also accredited by the Institute

for Independent Business (IIB).

He was also instrumental in the recent setup

of Acoustic Control Systems Ltd in Canada, in order

to further develop a market position for ACS

in North America. He lives in Victoria BC Canada

but can also frequently be found in the Netherlands

and throughout Europe.

Mark Vassallo

With ETC (Electronic Theatre Controls, Inc.)

now for 16 years, ETC¹s vice president of sales

Mark Vassallo could be a character out of the

movie Glengarry Glen Ross -- always looking

for the next lead. Beyond the New York persona

and colorful vocabulary is a modest Jersey bred,

Italian-American father of four who loves his

home in the American Midwest, has a passion for

cycling, and is also a receptive internationalist.

ETC CEO Fred Foster hired Vassallo to run ETC¹s

New York City office and to be the company¹s

Northeast regional sales manager. In the process,

Vassallo met his Wisconsin-native wife Michelle

at ETC and moved to Madison to start a family,

working from ETC headquarters. In 1998, ETC

appointed Vassallo vice president of sales, his

current role, in which he develops ETC brands

and projects globally and works with regional

sales managers and international clients.

Vassallo¹s sales territory is global. He frequently

travels to ETC¹s offices in London, Rome, Copenhagen,

southern Germany, and Hong Kong

as well as to far-flung projects anywhere in the

world. A few recent ETC projects he was proud

to be instrumental in were the Universal Project

and HCC in Singapore.

NATEAC Panelists

Duncan Webb

Duncan M. Webb, President of Webb Management

Services, Inc., has been a management

consultant for the development and operation

of performing arts facilities for 23 years. Mr.

Webb entered the theatre profession as a lovesick

maiden in Gilbert and Sullivan’s Patience

in 1969. Since then, he has completed degrees

in economics and business, worked in international

banking, produced commercial, industrial

& experimental theatre and has been teaching

for New York University’s graduate program in

performing arts administration since 1990. He

worked for Theatre Projects Consultants from

1989 to 1995 and founded Webb Management

Services in 1997. That practice has completed

over 250 feasibility studies, business plans and

strategic plans for facilities, organizations and

districts. Mr. Webb is also the author of Running

Theaters: Best Practices for Managers and Leaders,

published by Allworth Press in 2005. He lives

in New York City with his wife and two children.

Robert Young

Robert Young is a Senior Theatre Consultant

in Arup¹s integrated theatre and acoustics practice.

Based in Los Angeles, Robert leads the West

Coast operations of Arup¹s integrated theatre

consulting group, which comprises a team of

more than thirty professionals in theatre planning

and design, acoustics and audio-visual

consulting.

A respected member of the theatre community

with more than twenty years of experience,

Robert has led theatre planning and design and

technical systems design for some of the most

acclaimed arts and academic buildings of the

last decade. Some of his projects include the

Diane B Wilsey Center for Opera for the San Francisco

Opera, the Wyly Theatre and the Winspear

Opera House in Dallas, the Walt Disney Concert

Hall in Los Angeles, and the Kodak Theatre for

the Academy Awards in Hollywood. In addition

to theatre consulting, Robert has worked and designed

for numerous regional theatres on both

the East and West Coasts and for the New York

City based production company Entertainment

Events.

Robert is an effective leader and intermediary

between the client, users and the design team.

Combined with his ongoing hands-on experience

of production and stagecraft, his reputation

in the industry affords him insight into new technology

and a broad and innovative approach to

building better theatres.

NATEAC • 2012 • www.nateac.org 21


We’re Baaaaaack! The Return of NATEAC

by Eddie Raymond

The Mission Statement of NATEAC is to “promote

communication between the architects, engineers,

consultants, and manufacturers responsible for designing

and building new theatres and renovating

existing facilities in North America.” and, “to promote

a higher level of interaction between these professionals

and the end users of their facilities.”

The 2008 conference accomplished its mission and much

more. So, you might ask yourself, “Why are we here again?”

Well, for lots of reasons.

The world has been through the wringer for the last 4 years.

Economic meltdowns around the world have had a significant

effect on our industry. Armed conflict in many quarters, regime

changes in the Middle East, both violent and peaceful,

the emergence of China as an economic super power have all

changed the landscape of markets, expectations and opportunities.

These events have also affected how we think about

the world, and closer to home, how we think about our work.

We are at NATEAC 2012 to explore how those changes have

affected one another and our work.

The arts, the performing arts specifically, and the buildings in

which they exist, have always played important roles in tumultuous

times. They serve to inform, forcing us to look at our predicaments

and situations in unexpected ways. They allow us to

forget our troubles for a few hours and immerse ourselves in

realities that are at once different than our own and controlled

in ways we can’t control the reality we live. They allow artists to

tell their story, which is ultimately our story. We are at NATEAC

2012 to talk about how our work helps others relate that story.

We design and construct much of the pre-show experience

of the audiences occupying the spaces, and that in turn helps

set the tone of what they subsequently experience. What an

audience member sees, hears and feels when they enter the

building and then in the performance space is dependent on

how well we understand the programming and the intentions

of those who create the product. Our understanding of how

people experience their surroundings is paramount to the success

of these spaces. We are at NATEAC 2012 to exchange ideas

about that understanding.

We dream up new technologies or new ways to incorporate

existing technologies in these spaces. The technologies we

incorporate into a theatre and the way we do so informs the

work that will eventually be done there. Chasing the ethereal

target of “getting it right” becomes a challenge of the perfect

marriage between form and function, and perfection is subjective.

It changes with the tastes of the times and the people

creating the art. We are at NATEAC 2012 to explore how changes

in tastes and times inform our definition of perfection.

We define the parameters that designers work within, providing

them with the infrastructures they need and expect in order

to execute their art. Hopefully flexible and complete enough to

let them realize their visions, but at the same time serving the

needs and wishes of the producers who pay for the art; another

challenge for us. We are here to talk about those challenges.

How we do our work sets the tone for the manner in which

technicians execute theirs. The efficiency and safety of the

crew depends heavily on how well we understand their work. A

building with all of the latest bells and whistles can be fraught

with a variety of hazards if we don’t address these challenges

in meaningful ways as the buildings are designed, constructed

and commissioned. Much of this task is dependent on infrastructures

that are incorporated into the design and not easily

addressed in a finished building. We are here at NATEAC 2012 to

better understand that task.

Our understanding of the environment and our effect on it has

grown in the last four years. New choices have emerged for the

products we use in our buildings, the way we execute our work

and the waste we produce. We better understand potential

global effects of our choices. We are here at NATEAC 2012 to

more responsibly embrace those choices.

The only sure thing in life, and thus in art, architecture and engineering

is that things will change. The world we experience

today is not the same as the world we experienced in 2008. The

rules of physics may be the same but the tools we use to harness

them have changed. The history of art and architecture has

grown and evolved and continues to inform our work as does

greater knowledge about our world.

The founders and advisors of NATEAC 2012 hope that this conference,

much like the 2008 conference, will allow us to meet

new people and form new friendships. We hope that this opportunity

to share information and opinions about our work

leads us all to ask hard questions and look for solutions to the

myriad challenges we all share. We have every confidence that

you will find this conference as rewarding and satisfying as did

the attendees of the 2008 conference.

Eddie Raymond is the Vice President of Local 16,

IATSE. He is Chairman of PLASA NA, a member of

the PLASA Governing Body and sits on the ETCP

Certification Council.

Sections of this article first appeared in the

Winter 2008 issue of Protocol, the journal of

PLASA NA.

22 www.nateac.org • 2012 • NATEAC


We look forward to combining our talents with yours.

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Charcoalblue is widely regarded as the

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and acoustics consultancy in the UK,

and now we are coming to the States!

In September we open our New York

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Kauffman Center for the Performing Arts • Kansas City, MO

Kauffman Theatre and Helzberg Hall


21st century jewel box

David H. Koch Theater, Lincoln Center - New York

Chicago

312 944 8230

Minneapolis

612 339 5958

Dallas

214 747 8300

Melbourne

+61 (0)438 382 408

More on our NEW website: schulershook.com


With Barbizon behind you,

You shine

866.502.2724 • www.barbizon.com

Equipment, Expendables, Systems, and Rigging for Entertainment

and Architectural Lighting Since 1947

Atlanta • Boston • Charlotte • Chicago • Dallas • Denver • Miami • New York

Orlando • Phoenix • Washington D.C. • Australia • India • United Kingdom

Fiesta Texas, San Antonio, TX


Specialists in flame retardant fabrics, drapery and stage machinery

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J&C Joel’s services include:

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Design

Engineering Integration

Mechanical & Electrical Installation

Operating in over 72 countries worldwide

from offices in Hong Kong, Dubai,

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Joel’s network of skilled engineers,

technicians and project managers have

been supplying quality products and

services for the entertainment and event

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Heavy Engineering

Counterweight Systems

Motorised Winch Systems

Orchestra Lifts

Tracking Systems

Acoustic Solutions - Banners & Curtains

Recently Completed Projects

Zayed University, Abu Dhabi

Royal Opera House Muscat

Education City, Qatar

EDA Theme Park, Taiwan

Royal Welsh College of Music & Drama

Part of the

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J&C Joel Hong Kong

T: +852 2357 5333

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F: +971 (0)4 884 7180

E: uaesales@jcjoel.com

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F: +27 (0)86 542 8130

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J&C Joel Limited

T: +44 (0)1422 833835

F: +44 (0)1422 835157

E: sales@jcjoel.com

Proud Silver

Sponsors of

NATEAC 2012 and

will be attending the

conference.

www.jcjoel.com


The Products You Need From The Brands You Trust

S Y S T E M S

For decades Rose Brand has

supplied high quality stage

curtains using the best fabrics.

Now Rose Brand offers more

products to meet your every

need, every specification.

Standard products or custom

solutions, we can help you.

NJ 800-223-1624

CA 800-360-5056

RoseBrand.com

NATEAC.indd 1 7/3/12 9:27 AM

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NATEAC.ai 1 7/9/2012 3:34:06 PM

LinkLift

The lift system for

the entertainment

industry

Stage and Orchestra Lifts

Multi-purpose venues

Complete turnkey systems

www.serapid.com


Elvis Theatre at Aria Hotel, Las Vegas, Nevada, USA

Photography: Studio West Photography. swplv.com

Saturated color. Subtle accents. Sensational effects.

Philips Color Kinetics has been transforming stages, theatres, and entertainment environments with

innovative LED solutions since 1997. Our intelligent theatrical and touring fixtures, including the

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Pantone Black, 485, White Pantone Black, 368, White Pantone Black, 300, White

For more information, contact: 888.385.5742 www.philipscolorkinetics.com

Theatre Equipment | Systems | Integration

We Make the Systems

That Make the Magic.

Please join us at the NATEAC Conference Panel:

High School Auditoriums – Why Good Design Matters.

Sunday, July 22 nd 10:10 am • Sutton North.

SECOA, proud sponsor NATEAC Conference, NYC, 2012.

Please call us at 1.800.328.5519 or visit: www.secoa.com.

Pantone Black, 1485, White Pantone Black, 300, White


PROPERTY & CASUALTY INSURANCE FOR BUSINESS

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THE POWER TO PERFORM

From concert tours to international sporting

competitions, organizers rely on CM hoists,

winches and rigging product for consistent

and dependable performance event after event.

THE EXPERIENCE TO TEACH

Our training classes are designed to meet the

specific needs of the entertainment industry.

Lead by instructors with product, safety

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is an intense 5 day program for anyone serious

about safe and proper stage rigging.

ENROLLMENT IS NOW OPEN FOR

MEGA SCHOOL August 20 to 24

TO REGISTER, CALL 877.298.6511

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G e r r i e t s A World of Custom Theater Solutions

Finest-Quality Textiles • In-House Sewing Studio

State-of-the-Art Technical Systems • Projection Screen Systems

800 369 3695 • www.gerriets.us • info@gerriets.us

Photo: Custom-sewn curtain, Chazen Museum of Art, Univ. of Wisconsin. Design by Petra Blaisse / Inside Outside


The Jerome Robbins Theater, New York, New York

©Alexander Severin/RAZUMMEDIA

Designing innovative performance spaces

Arup provides world class, integrated design services for

performing arts buildings from concept to completion,

helping clients around the world deliver stunning venues

that truly inspire.

We shape a better world

www.arup.com


Bringing the industry together

to create a safer workplace

ANSI E1.4 - 2009

Manual Counterweight Rigging Systems

ANSI E1.21 - 2006

Temporary Ground-Supported Overhead Structures Used To Cover Stage Areas

and Support Equipment in the Production of Outdoor Entertainment Events

ANSI E1.22 - 2009

Fire Safety Curtain Systems

ANSI E1.28 - 2011

Guidance on Planning Followspot Positions in Places of Public Assembly

and many others at http://tsp.plasa.org/tspdocuments

Entertainment Electrician

Entertainment Rigger - Arena

Entertainment Rigger - Theatre

www.plasa.org

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