Open Forum

 View Only
ITF Registration 2025
Back to discussions
Expand all | Collapse all

Designing brand-new school theatre facilities

  • 1.  Designing brand-new school theatre facilities

    Posted 09-01-2016 16:34

    I'm interested in hearing from anyone who has been involved with the planning of a newly constructed school theater. What were your experiences, both the triumphs and the pitfalls?

    Related: what's your dream wish list if you were to find yourself involved in such a process?

    Also related: I'd love to see photos of your state-of-the art facilities if you are so blessed.  Go ahead, brag. 

    I teach middle school, but both high school and middle school spaces are of interest to me.

    ------------------------------
    Ryan Moore
    Theatre Teacher and Forensics Coach
    Royal Oak MI
    ------------------------------


  • 2.  RE: Designing brand-new school theatre facilities

    Posted 09-02-2016 07:31

    This is what I do on a regular basis, I work with Architects and Engineers to solve the needs of the facilities.

    There are many paths to a theatre space, but within all of the spaces you need to consider:

    1) Needs of the Facility - What are you doing now, what will you be doing in 20 years?

    2) Wants of the facility - Theatre and Music Staff, Administration, District

    3) Budget of the Space - Does it meet, limit or exceed your 1. NEEDS, 2. WANTS

    4) Do you have the staff in place to support and fully incorporate into every production what you are getting, or are you a set it and forget it space?

    5) Limitations of the space, just because(design of the rest of the building, renovation of former)

    6) What is required for the space(what is maintenance, replacement scheduling, inspection schedule) and how much will need to be budgeted.

    Please understand the process begins with you, you are the OWNER!, you hire the staff (Architects, Engineers, Consultants)to create your building, you have to tell them what you want and need, yes they are experts BUT you have the final say on your project, DO NOT let them tell you need to do this or that unless you do need this or that.  

    ------------------------------
    Jerry Onik
    V.P. Theatrical Supplies and Equipment
    Omaha NE

    Original Message


  • 3.  RE: Designing brand-new school theatre facilities

    Posted 09-02-2016 08:01

    One of the schools I taught at during my 14 years as high school theatre educator was a newly constructed school.  I was their first theatre teacher but was hired too late in the design process to influence any decisions.  Besides all the positives of the new facility, the greatest negatives were:

    1) Not enough storage space, particularly a climate controlled area for costumes.  Plus, the few spaces that were adjacent to the auditorium were "reassigned" to other departments over the first few years the school was opened.  

    2) Stage lighting was a "standard base package" recommended by the architect that needed a $65,000 supplement after the first year to be useful for "proper" theatrical lighting.  Think this might have been an easy target for fiscal savings when the initial project was scaled back.  

    3) Generic stage work lighting (non-theatrical instruments) was horribly dim.

    4) Lighting booth lacked a switch to turn off the stage work lighting.

    5) Auditorium infrastructure lacked proper DMX connections and wiring.  DMX is a digital protocol used to control intelligent lighting fixtures and other electronic stage equipment.

    6) The school was built just prior to LED lighting fixtures becoming cheap enough to go mainstream.  If I was doing this again, I would press for a heavy LED lighting presence, not just in the stage lighting fixtures but also in the auditorium seating area lighting.  The push back is most likely that LEDs are still more expensive than conventional lighting.  That is a short-term argument, as <g class="gr_ gr_5868 gr-alert gr_gramm gr_run_anim Punctuation only-ins replaceWithoutSep" id="5868" data-gr-id="5868">long-term</g> they will be much cheaper to operate (significantly lower electrical usage and no regular replacement of expensive lamps, or bulbs as the non-lighting folks would say).  There are often low-energy usage grants available to offset some of the expense of the LEDs.  If your community is "green conscious" then this could be a big selling point for the added expense.

    One of the best things was a video feed from the auditorium from the auditorium to our chorus and band rooms, which, depending on the production, served as our green rooms.  

    Good luck!

    ------------------------------
    George Kendall
    Mary Baldwin University
    Staunton VA

    Original Message


  • 4.  RE: Designing brand-new school theatre facilities

    Posted 09-02-2016 09:37

    Funny story I was told by a retired university theatre professor:

    The university was building a new theatre and as the construction progressed the administration kept saying that they had to cut the budget. Of course that usually means lighting, sound, all the tech support areas would be cut to the bare bones. But the administration did not specify so the architect just eliminated the seating in the house and all backstage areas were fully equipped. As it got closer to the "grand opening" the administration came in to check on things. Seeing no seating for the audience they went into panic mode. "Where's the seats?" they asked. The architect tole them they were eliminated in the budget cuts. Suddenly, money was available for the seating! 

    ------------------------------
    John Perry
    Drama Instructor
    Atherton High School
    Louisville KY

    Original Message


  • 5.  RE: Designing brand-new school theatre facilities

    Posted 09-02-2016 11:23

    I am fortunate enough to work in a beautiful facility opened in 2010, American Canyon High School. Our school was featured in California Educator Magazine as "The School of the Future" and here's the link to read that. It does have a few photos of our theatre.

    If you want photos of the set room, rehearsal space, dressing rooms, or the booth, let me know!

    ------------------------------
    Summer Heartt
    Teacher/Director of Theatre Arts
    American Canyon High School

    Original Message


  • 6.  RE: Designing brand-new school theatre facilities

    Posted 09-02-2016 12:10

    Thanks for all the good advice.  Keep them coming.  Love the seating story, John.  Hey, Summer, I couldn't get your link to work.

    ------------------------------
    Ryan Moore
    Theatre Teacher and Forensics Coach
    Royal Oak MI

    Original Message


  • 7.  RE: Designing brand-new school theatre facilities

    Posted 09-02-2016 12:47

    I did this for a high school that was under construction from 2003-2004.  Although the architects/builders were pretty good about involving us (theatre and music) in charettes and asking for our input, the district did not include a theatre design consultant, like Mr. Onik, in their figures.  So, although we were able to influence a lot of things we suffered from the lack of that expertise.  That is the most important thing I would suggest.  Spend a few extra thousands to get the best bang for the rest of the bucks.  We could have avoided these goofy problems--

    • guard rails instead of hanging rails on the light catwalks.  We ended up cutting the 2nd and 3rd rail below the top so we could actually hang lighting instruments
    • an HVAC duct across the top of the stage where fly lines 4-8 should have gone
    • a dead hung front valance
    • a 10 ft high load in door from shop to stage.  I actually got that changed at the last minute so that it went up to 12 as they knocked a few concrete blocks out of the wall
    • completely enclosed deadspace above practice rooms.  We lost storage space totaling 400 sq. ft. that could have been well used
    • my favorite--"the room without a door."  A space above the dressing rooms that was 20 x 30 that had a concrete floor and was 15 ft tall and was completely enclosed by a concrete block wall. There was an open loft/balcony area outside of it reached by a nice wide stairway where we could store props, but no one thought to put a door in the wall so we could double our storage. After two years, I convinced administration to at least bore a hole in the wall and look inside the space and then six months later they opened up a door.  It now serves as an effective costume and props storage area.

    A theatre consultant could have helped us with all these.  And probably could have stopped our assistant superintendent in charge of procuring equipment from changing our specs from ETC to a system that he got on the cheap saying it was comparable.  Needless to say, 6 months after the theatre opened we got the message that the company would no longer be supporting the products.  The system had to be completely revamped within 7 years.

    If you are looking for a consultant recommendation, Peerbolte Creative is very good in the midwest.

    ------------------------------
    Ben Martin
    Executive Director
    Missouri Aliiance for Arts Education
    Lee's Summit MO

    Original Message


  • 8.  RE: Designing brand-new school theatre facilities

    Posted 09-03-2016 17:55

    We went through modernization 10 years ago and the first request I had was to hire a theatre consultant to work with the architect and be with me at all the planning meetings.  Aside from making sure we had theater and not "auditorium" design, he made sure that the obvious needs to a theatre director were met; things like a catwalk, appropriate tracks for curtains, projectors for scenery, cable run correctly (we had previously had the cable for the sound and the lighting in the same conduit and it created a hum all the time), close circuit television in the lobby, green room and classrooms along with intercoms and phones to each area. He spent a lot of time on specs for sound and lighting (and brought in a sound engineer since we use the space for concerts and theatre).

    Some areas we fought hard to get were a stage floor that was raised so the dancers would have a safe performance space, a dance room that was the size of the stage for rehearsals, controls for lighting and sound access while onstage for rehearsals, floor lighting for the stairs that could be controlled in areas (we have stairs that lead to the stage on the sides and we can turn off the lights when in performance and leave the audience stairs lit).

    Meeting ADA requirements are tricky. In order not to have an elevator on one side of the stage  we added an additional entrance area on the side of the stage that serves as an alcove and has the elevator to the stage in it. This saves the sight lines and if you want to have blocking that includes using the stairs it is still possible . The tech booth also had to have an elevator and we opened up the box office into the tech booth to gain the extra room.  However, if there is a handicapped student who wants to run lighting it can be done via laptop computer from anywhere in the theater as well. 

    We made the drama, choir and music rooms all have separate access to the stage for rehearsals in the shared space. The budget cut came in the area of the tech shop which was greatly reduced.  We are fortunate that we are in Southern California and can build outside the loading dock. We can always use more storage for sets.

    I was adamant about reminding the administration that they hired me to teach and direct which in no way qualified me to consult an architect or engineer on what was appropriate for theatre construction especially since technology changes so quickly with lighting and sound that it would be better to spend the money on a consultant. DId it pay off? Yes. Do I wish I could have gotten more?  Of course!  Good luck with your new building!

    ------------------------------
    Kathy Cannnarozzi Harris
    Theater Director - Mission Viejo HS
    VAPA Coordinator K-12
    Saddleback Valley USD
    Mission Viejo, CA

    Original Message


  • 9.  RE: Designing brand-new school theatre facilities

    Posted 09-02-2016 12:53
    Edited by George Ledo 09-02-2016 13:05

    I've been involved in the planning and design process for a few theatre and fine arts facilities, so I'm going to second everything Jerry said. The up-front planning is crucial, especially the part about looking at the future from the viewpoint of everyone who is going to use the space.

    Chorus concerts? Okay, you need space to store the risers, chairs, and other items.

    Dance concerts? Do you need a sprung floor? Will you be using a vinyl roll-out floor during performances? If so, you need space to store it.

    Band concerts? Those music stands and lights, and the podium, need a place to live off-stage.

    Theatre? You're going to need a place to work (ideally separate from the stage), water for painting and clean-up, and power and secure storage for tools. Plus, of course, storage for scenery pieces, props, costumes, and lighting equipment. I could go on and on here.  :-)

    One of the things I've run into over and over is that very often the decision-makers (administration, boards, and such) just do not understand how a performance space functions, and this is also true for the architects and engineers. So the answer is to take them on tours of local spaces so they can get a real feeling for them and ask questions. One of the projects I worked on was a large fine arts complex for a small city, and the client wanted to make sure we all understood what he wanted. So he chartered a plane and took a couple of his people, plus the architects and me, to look at three spaces in the region, all in one day. It was a very long day, but, for him, it was totally worth the investment.

    So yeah, plan for the future and take your time doing it. It'll be worth it in the long run.

    EDIT: Just saw Ben's post. Guess he uploaded while I was typing. Good point: make sure someone (ideally a theatre consultant working closely with the client) reviews the architectural and engineering drawings during the process. Designing a space like this takes a lot of drawings and specifications, which are developed in phases over a period of time, and they are all available to the client. In fact, the architect should expect you to review them during the process.

    ------------------------------
    George F. Ledo
    Set designer
    www.setdesignandtech.wordpress.com
    www.georgefledo.net
    http://astore.amazon.com/sdtbookstore-20

    Original Message


  • 10.  RE: Designing brand-new school theatre facilities

    Posted 09-03-2016 11:36
    Edited by Michael McDonough 09-05-2016 20:55

    I can't contribute to the conversation on the design aspects. But I can contribute based on observation after having played hundreds (literally) of school spaces in a TYA career spanning many years.

    One of the biggest disappointments on arriving at a school (ES or MS/JSH, not usually HS's unless it was a K-12 building) is to learn the performance space is the multipurpose cafetorium or gymnatorium. I appreciate the ability of a space to be adequate for a multitude of purposes. But that's all it is --- adequate. In my experience, if a drama program goes dormant the theatrical uses of a multi-use space are re-purposed when there is nobody to advocate for them.

    So disappointing to have to play in a multi-use space on the floor in FRONT OF what used to be a stage. Can't tell you how often I'd discover that a purpose-built stage is no longer a stage but instead a faculty lunch room; re-purposed as a gym space (not just storing gym equipment); re-purposed as a music space (not riser storage but a teaching space no longer capable of performance use); and in a couple of cases a 'permanently temporary' wall was erected filling in the stage opening and the stage was converted to a classroom. Sure, space is at a premium but these discoveries saddened me like finding an old legit house in a small town that's been converted to a movie theater.

    And then there were the so-called theaters where a space is dedicated for performance but so poorly designed or budget-gutted to render them virtually incapable of performance use --- a so-called stage with no support facilities. The 'theater' in name but in practice virtually a lecture hall.

    And poor planning isn't confined to schools. I opened Norwegian Cruise Lines newest/biggest vessel in 2010 (as Company Manager) and was happy to find decent backstage space for performers and --- at long last --- for the wardrobe department including backstage washer/dryers. It was a first for NCL - a dedicated ensemble-dressing-room-sized space dedicated to wardrobe. On all of the older ships, wardrobe must take nightly laundry several decks away to the crew facilities (horribly maintained, nasty spaces --- and then wait for open machines) or sweet-talk the commercial laundry staff for use of their facilities (not always apropos for delicate costumes in a commercial vat for sheets & towels).

    Fast-forward to 2013 with their then-newest build, and although there were washer-dryers backstage there was no room for maintenance. No space planned to fold laundry once out of the machines! Literally a 4' space between a row of machines and the bulkhead. Let alone space for sewing machines, storage, repair, back-up costumes, etc. And then they chose a period show for the ship: Rock of Ages, which required several dozen wigs....  (a cruise ship show often runs for a 3-5 year period) They had to jump through very high hoops and petition to convert an adjacent backstage 'technical' space to become a 'storage' space --- and everyone must still turn a blind eye that wardrobe uses a designated marine 'storage' room not only for storage but also as their office, maintenance, and everything-else space. Even so, wardrobe must still commandeer a couple of actor spaces in each dressing room for their own area. But how nice for the architects to have allocated space for showers backstage which in practice became a mop bucket storage room (never ever ever ever used for the intended purpose - bathing - since crew cabins are no more than a few hundred feet distant).

    My best advice is to let as many theater people as possible comment and look at the plans. Not just the experts. Your day-to-day folks with practical feet-on-the-ground experience. And not to let your ES/MS cafetorium spaces slowly become a dumping ground for bulky PE equipment. Masque-ing a 12-15' balance beam dead center stage is an art unto itself...

    ------------------------------
    Michael McDonough
    TRW - Director of Amateur Licensing
    New York

    Original Message


  • 11.  RE: Designing brand-new school theatre facilities

    Posted 09-04-2016 05:35
      |   view attached

    As mentioned by others, it is vital to get your administration and design team (Architect, Engineers, Theatre Consultant) to tour other venues and explain to them as you walk through each the elements that you think are helpful, and particularly those that are not helpful.  Do not be afraid to be critical of other people's spaces!  Most theatres are a design disaster, so avoiding the mistakes of others can be extremely helpful to your cause.

    Demand offstage space!  Too many theatres barely allow you room to move actors off stage, let alone set pieces.  Explain to the administration and Architect that scenery doesn't magically shrink when moved offstage.

    Also, make sure that they provide separate lockable storage spaces for pianos, orchestra shells, choral risers, director's podiums, lecterns, musician chairs, and racks for rolled dance floor (Marley), scenery, platforms, props, costumes, etc..  None of these things should be stored within the stage envelope.  They clutter the working space, and they are just fuel for a fire.

    Noise Control is essential.  Voices and musical instruments create very nuanced sounds, and when they are buried under the roar of an air conditioning system, the point of the space is lost.  Remind them that the origins of the word 'Auditorium' mean "PLACE TO HEAR".  The up-front definition of the acceptable noise levels must be made early in the programming statement, and the engineers and contractors MUST be contractually obligated to meet them.  One of the key tools you have is to require that an acoustical engineer review the HVAC engineer's system design, the contractor's shop drawings, and to field-inspect the installation to verify at each step that the defined noise criteria will be met.  Engineers and contractors are not generally qualified to do this, and if left to police themselves, they will typically fail.  The onus to correct any excessive noise in the room must placed upon the HVAC contractor.  The reason for this firm approach is because once a noisy system is installed, it will never be corrected and you will suffer with it for the life of the building.  Another reason to have quiet spaces for voice and music is because many of these presentations are recorded.  Microphones cannot discriminate between noise and the desired sounds, so they pick-up both.  If the room is noisy, then the recordings will be noisy.

    Noise Isolation is also extremely important.  Scenery shop noise can't leak into music and theatre classrooms, and music room sounds can't leak into adjacent music rooms, theatre classrooms, nor onto the stage / auditorium.  This is a difficult Architectural challenge that must be met.

    Architectural Room Acoustics also must be carefully planned in advance.  This isn't as simple as sticking some acoustical panels on the wall.  It is much more complex.  You cannot make a bad room sound better with a sound system. All they do is amplify the bad.  Mixed use rooms musty be designed to accommodate the varied acoustical requirements of choral, band, orchestra, drama, lecture, and cinema.  This is a wide range of program demands and it requires attention, otherwise all other groups will suffer to the benefit of one type of user.

    Your Architect must rely on an independent Theatre Consultant for sound, video, lighting, rigging, draperies, and orchestra lifts. Getting 'free' designs from contractors will do you no favors.  A good consultant will work to see that these different systems are designed in coordination and not as a bunch of equipment tossed in a room and expected to work together.  These systems require close coordination.  Although it is possible to have multiple consultants to design each of these systems, it is usually not cost-effective to do so, and it can still leave gaps between the designs.  We advocate for the use of a single firm to assist the Architect.

    Other areas where a Theatre Consultant can assist your Architect is in the layout of seating and sightlines, ancillary spaces like control booths, dressing rooms, catwalks, fly galleries, shops, and all of the interconnecting spaces.  Their unique understanding of the working relationships between user groups and the run-of-show operational needs can guide the Architect to a facility layout that is efficient and promotes good flow of people and materials both backstage and in the public spaces.

    ------------------------------
    Erich Friend
    Theatre Consultant
    Teqniqal Systems

    Original Message


  • 12.  RE: Designing brand-new school theatre facilities

    Posted 09-04-2016 09:22

    As a person who is trying to do catchup on a facility that wasn't fully and completely thought out, I'm looking at two things that are infinitely important. These would be road power (for distros) and a grid. Find the nearest professional theatre that you can find and take a tour. Take as many pictures as you possibly can and share them with your architect team. And don't think that it just has to look good. Sure, it will look spectacular, but it's gotta be technically sound and this seems to be the first place that admins cut because the don't understand that part.

    ------------------------------
    Starr Hardgrove
    Theatre Instructor/Performing Arts Center Manager
    Marion AR

    Original Message


  • 13.  RE: Designing brand-new school theatre facilities

    Posted 09-05-2016 07:22

    We just moved into a beautiful, new facility in Akron, Ohio. It is state-of-the-art in many ways but not without its issues. I am happy to host a visit if you want to come check it out and discuss.

    ------------------------------
    Mark A. Zimmerman,

    Theatre Director
    Akron School for the Arts
    Firestone High School
    333 Rampart Avenue,
    Akron, Ohio 44313

    Troupe 5570

    Original Message


  • 14.  RE: Designing brand-new school theatre facilities

    Posted 09-04-2016 15:47

    Hi Ryan,

    It’s so great that your district has joined the bandwagon and is putting money into a new theatre facility! Everyone has provided such sage advice about the process of building a theatre, the most important common thread being to be sure you have someone with a theatre background who will review construction documents and make recommendations to improve functionality. “Muggles” (architects and administrators) simply don’t have theatrical experience – which is not surprising when you think that when they go to see a show all they see is the polished 'magic' performance from a seat in the audience.

    Your district should also be looking to the future, after the doors open, and considering the very real probability that your theatre will need to be staffed by a Theatre Manager and professional technicians (lighting, sound and rigging). I’ve seen too many school districts taken by surprise once their theatre opens and they soon discover that they need to staff the facility.

    I’ve also seen too many districts hit by the reality that it’s likely that the new high school’s performing arts department and other school groups are not going to be the only users of your theatre. So many high school theatres operate as “road houses” these days to help cover educational operational costs. It’s good to be aware of this ahead of time because an architect must plan for, and an administrator must be prepared for, a variety of transient users (school, district and outside events) that need constant monitoring and supervision for safety, building preservation, operational functionality and educational training.

    Too many districts assume that the Drama teacher can take care of managing a theatre (in their spare time?) and that the students can staff the events – including outside events (there’s a reason they’re called students). A high school theatre, which acts as a ‘road house’, needs to be run like a business – something the Drama teacher and students don’t have time, nor desire in many cases, to do. Following is a list of duties a Theatre Manager needs to take care of: scheduling, production meetings, safety, employee (technicians) management, training students, administration and record keeping, polices and procedures, budgeting and finances, technical support, equipment and supply ordering and maintenance, marketing and outreach, innovation and future planning.

    In addition to a Theatre Manager your district should prepare to hire technicians as well. I realize that this is a “gold standard”, but when you consider the staffing model of an entire sports program in a high school you find that it’s not unreasonable. As well as running shows, professional technicians also make great mentors for your students. They have the education and real world knowledge of the subject. They are also your “life guards” who watch over the students, yell at them to ‘stop running’, and are ready to dive in if there’s trouble.

    Outside events can be the bread and butter of a high school theatre program, so you want their repeat “business”. Most high school theatres that I’ve worked in have at least five to ten dance schools and several other groups who rent out their theatre two or three times a year, or more. These events aren’t going to keep coming back if the theatre staff isn’t professional and dedicated to the success of their event. A professional theatre staff is essential to the endurance of your high school theatre program. The good news about outside events is that you can require that they have the appropriate amount of technicians on staff and you can directly charge the event for the technician’s time. So, the staffing of technicians is at no cost to the district and the Theatre Manager’s time can be built into the rental rates. Outside users are paying to use your facility and they are required to pay to use your technicians, so they expect a professional experience. This isn’t to say that students can’t work outside events, in fact I strongly advocate for that (and if you can pay them, that’s even better), but not without the supervision of professionals. 

    On the PRESETT website there are some examples of “gold standard” high school theatres – you can check them out on the School Rating System page. There’s also some books that could help you out on the Members Publications page. I can’t recommend strongly enough that your district be prepared ahead of time to hire a Theatre Manager and professional technicians once the theatre is built (before the doors open if possible).

    All the best,

    Beth

    ------------------------------
    Elizabeth Rand
    Founder and Executive Director
    www.PRESETT.org
    Woodinville WA

    Original Message


  • 15.  RE: Designing brand-new school theatre facilities

    Posted 09-04-2016 18:56

    I will echo the sentiment of the comments above - Hire a theatre consultant!  However, I suggest interviewing them and hire one who will actually represent your interests and simply tell you what you need.  I have been involved in the creation of several new buildings, and some consultants have been excellent while others have caused more harm than good.  

    I also work in hundreds of spaces each year, many of them high schools, colleges, and universities.  Many of the issues I see revolve around either the rigging systems or the cable runs for lighting and sound.  Some examples of things I have seen:

    > Head blocks install backwards (anchors resisting an OFFSTAGE pulling force).

    > Homemade arbors that were wire mesh cages.  They used actual red bricks for counterweight.

    > New "state of the art" facility (built in 2012) with a 50 foot fly tower and T-track on the wall - no blocks or cables - all pipes for soft goods dead hung from the grid with chain - Motorized line set system for electrics dead hung from grid on all-thread trimmed at 22 feet - fluorescent work lights hung from the grid between the borders trimmed at 22 feet - smoke detectors and fire strobes hung down from the grid at a 22 foot trim.  

    > All lighting circuit conduit runs routed to lighting booth, but dimmer racks installed in dimmer room . . which was located backstage.

    > Brand new facility with a 22 foot proscenium height, and a 26 foot grid with a VERY nice single purchase counterweight fly system with 50 pipes.  I simply asked, "sooo. . .where does the scenery go?"  Once he got it, the general contractor almost fainted.

    > Opposite of a gymnatorium, an absolutely gorgeous theatre with a huge stage and an 80 foot grid.  Retractable basketball hoops in each wing so the team can play B-ball on the stage.  I cannot make this up.

    > Linesets that can fly all the way down to the stage deck - I was actually able to speak to the architect on this one and he just told me I didn't know what I was talking about.

    > Lighting positions and catwalks over the house that have no way to access them, so a Genie had to used to access the catwalks.

    > A booth equipped with a rack of 48 wireless mic receivers, with a handheld and a lav for each receiver. . .but no amps, speakers, or a sound board . . . or wiring for said "extra" sound equipment.  Apparently the music director told the architect he did lots of musicals and needed wireless mics for 48 people. . .so he got it and nothing else.

    > Catwalks on the side stages that were NOT anchored to the side walls of the facility, even though support and bolting plates were pressed right up against the side wall.  In fact, "dummy" bolts heads had been glued into the holes to make it look like they were bolted to the wall.  I discovered the issue as I was side loading the pin rail and the catwalk moved.

    > FOH lighting position that could not hit the stage.  Apparently, the architect added a balcony  and just moved the roof higher in his CAD file without adjusting the relative locations of the catwalks to be able to hit the stage.

    > Perfect lighting positions over the house that were blocked 100% by sound reflectors.

    The list could go on and on, but the moral of the story is to be as involved as you possibly can in the process, understand how your facility is being designed, and do NOT be afraid to speak up if you see something that looks fishy.  People (including architects, engineers, and consultants) all make mistakes.  If they are caught early, the fix is easy.  

    ------------------------------
    Tracy Nunnally
    NIU - Professor/TD/Area Head
    Vertigo - Owner/System Designer
    ETCP Certified Rigger/Trainer
    DeKalb, Illinois

    Original Message


  • 16.  RE: Designing brand-new school theatre facilities

    Posted 09-04-2016 19:12

    Wow, that's quite a list from Tracy. Yep, they're out there.

    Actually, as an out-of-town consultant myself for about fifteen years (when I was in the architecture field), I learned one thing, and Tracy touched on it: interview those consultants and make sure you select one that will work with you and for you, on your side of the table. I have found that the best consultants will ask you a ton of questions first, and really help you understand and define what you need, before ever suggesting anything.

    ------------------------------
    George F. Ledo
    Set designer
    www.setdesignandtech.wordpress.com
    www.georgefledo.net
    http://astore.amazon.com/sdtbookstore-20

    Original Message


  • 17.  RE: Designing brand-new school theatre facilities

    Posted 09-05-2016 12:14
    Edited by George Ledo 09-05-2016 12:17

    Sorry, not to follow my own act here, but Elizabeth's comments were right on the button, so I'm going to chip in a bit on the subject of architects. Here's a very very quick guide to working with an architect:

    • Architects are like doctors, lawyers, engineers, and other professionals in that they can either be general practitioners or specialists. The firm I worked at had a whole studio (department) that specialized in health care, and later they developed a studio that specialized in foreign buildings for the State Dept. Some architects do specialize in theatres or fine-arts centers and you can find them through online directories.
    • Interview "a few" architects before you select a firm. They're used to this. You're not only looking for expertise, but also for a personality that will jive with yours. You're going to be working very closely with them.
    • Architectural projects are done in phases. We used to call them pre-design, conceptual design, design development, construction documents, and construction administration. The names can change, but basically you're working on one phase at a time, and the client is expected to approve each phase before moving on to the next.
    • The pre-design phase generally ends with a detailed list of what the building will need, and I do mean detailed. Known as the "Program" or something similar, this is literally a listing of every room and every space, with a square foot figure associated with it, and other notes as needed. This is the part where a lot of the "little spaces" fall between the cracks, and there's no real estate to put them later when someone realizes they're missing. The closet for music stands or the Marley floor, the tool crib in the scene shop, and similar things want to be on this list. Don't take anything for granted.
    • This phase is also where planning ahead is vital. For instance, if the theatre will be used as a road house later, there's a great argument for a dedicated scene shop. Having an outside, revenue-generating event come in while you're building a set on stage can create many headaches, and it happens all the time.
    • Talking about scene shops, for instance, you also want to consider scenery storage in the future. You don't want to store so much stuff in the shop that there's no place left to work.

    Again, this is a very quick list, but it's really important to understand how the architect will work with you. A good theatre consultant can help you here a lot.

    It's also important to realize, while planning the facility, that this will be a teaching space, not just a performance space. While working in it, the kids will be learning how theatre works (and should work), and getting ready to move on to college, so you want to give them the best experience possible now and in the future.

    ------------------------------
    George F. Ledo
    Set designer
    www.setdesignandtech.wordpress.com
    www.georgefledo.net
    http://astore.amazon.com/sdtbookstore-20

    Original Message


  • 18.  RE: Designing brand-new school theatre facilities

    Posted 09-07-2016 10:17

    Hi, Ryan

    I don’t have direct experience with building or renovating a school theater, but there is an article from Teaching Theatre that many consider a great resource on the subject.  You can download the article New Space from our online library at:

    https://www.schooltheatre.org/communities/community-home/librarydocuments/viewdocument?DocumentKey=11a6d7f1-56b0-45ad-be95-af1bfeb948c0

    One of the biggest takeaways is that investing in consultants, architects, and contractors who specialize in theaters is worth every penny. Otherwise exceptional design, planning, and construction professionals that lack expertise in this niche field can make choices that will negatively impact functionality for decades to come.

    I hope this helps!

    ------------------------------
    Brian Benz
    Membership Manager
    Educational Theatre Association

    Original Message


Related Content