I have been reading with quite a bit of interest about the Broadway rendition of Spiderman.  As I am sure you are all aware this show suffered another set back this past week when during a preview performance an actor fell nearly 30 feet into the orchestra pit.   This combined with sprains and concussions can’t help but make me wonder if the producers are trying to garner attention that no amount of money could buy?   I don’t believe there was a major television network that hasn’t carried these stories. 60 Minutes did a piece on the $60 million (now rumored to be $65 million) production that featured the director Julie Taymor and Bono the music composer.  In that 60 minutes piece they had indicated that it will take $1 million a week to stage the production.  I can’t help but wonder how long it will take for the producers to recoup their investment while still covering all of the weekly costs.

Now I don’t know the inner workings of Broadway productions, but I can only assume there are additional revenue streams beyond tickets sales.   The simplest form of these may be things like show concession and souvenir sales to what I would imagine are the more lucrative like product marketing .

So here is the question… If you know you have to recoup your investor’s money and that in order to do this you’ve got to create a massive hype around the show but you can’t spend any more money doing it… How can you accomplish this?   I contend that you create delays that are filled with major drama…  The theatre going public not only gets to experience the drama of the production off the stage but you create so much hype and curiosity that you sell them a ticket to see the drama on the stage (and perhaps a new broken body part as a bonus).

Call me the cynical curmudgeon.

Again, from the NNPAF -- “The impact of public art on a community is priceless and immeasurable and once experienced it only appreciates. Public art has the power to energize our public spaces, arouse our thinking, and transform the places where we live, work, and play into more welcoming and beautiful environments that invite interaction. Public art can make strangers talk, children ask questions, and calm a hurried life. It enhances the quality of life by encouraging a heightened sense of place and by introducing people to works of art that can touch them and generations to come.”

Public art can take on the form of monuments, statues or sculpture, but certainly are not limited to these.  I have seen benches shaped like musical instruments located in front of concert halls, and fountains and man made streams through busy urban areas.  In this day an age we also have technology becoming art…  In this video people visit a website, make their designs for the light show and then they are displayed for all to enjoy. Interactive Public Art what a great concept! (This is another Jon Rawlinson video – this is Vectorial Elevation in Vancouver for the Olympics)

www.youtube.com/watch?v=vskx5X6swQg

I am a firm believer that municipalities and governments should encourage and perhaps in some cases even require that projects include a budget for public art.  Think of your community and some of the things on display…now go out and enjoy them.  Take a walk!

There is just something calming, soothing, mysterious, peaceful, and awesome about the underwater world.  People are given opportunities to experience through film / tv / video (IMAX or as in the example above YouTube) but there is just something about being immersed in the experience.  It would offer a great education opportunity for people of all ages, it could provide a great research facility, it could be an additional tourist attraction for the tourism and convention bureau, it could be a great volunteer opportunity, it could be a retreat from the hectic day to day activities.   Is the old Y building the right place?  Probably not but it shouldn’t hinder the grass roots movement to bring this reality to the Spokane area.

www.youtube.com/watch?v=u7deClndzQw

The above video of the 2nd largest aquarium in the world (in Japan) is one that I found to be absolutely awesome to watch…(Shot by Jon Rawlinson) I launch it in full screen pretty regularly and noticed that it is now on the Facebook page for the Spokane Aquarium.  I love how the people are just little silhouettes and how we really are miniscule and just a small component of what is LIFE on this planet.

What are your thoughts on and aquarium in Spokane?  Would you support it?

I saw this on  this.rand() and thought I would share with you.

A cowboy from Texas attends a social function where Barack Obama is trying to gather support for his Health Care Plan.  Once he discovers the cowboy is from President Bush’s home area, he starts to belittle him by talking in a southern drawl and single syllable words.

As he was doing that, he kept swatting at some flies that were buzzing around his head. The cowboy says, “Y’all havin’ some problem with them circle flies?”

Obama stopped talking and said, ”Well, yes, if that’s what they’re called, but I’ve never heard of circle flies.”

“Well, sir,” the cowboy replies, “Circle flies hang around ranches.  They’re called circle flies because they’re almost always found circling around the back end of a horse.”

“Oh,” Obama replies as he goes back to rambling.  But, a moment later he stops and bluntly asks, “Are you calling me a horse’s ass?”

“No, sir,” the cowboy replies, “I have too much respect for the citizens of this country to call their president a horse’s ass.”

“That’s a good thing,” Obama responds and begins rambling on once more.

After a long pause, the cowboy, in his best  Texas  drawl says,  “Hard to fool them flies, though.”

Paper pushing and theatre productions seem to go hand in hand. There are myriads of things that go into a production, everything from audition forms and cast lists to sign-in sheets and line notes.  As a relative novice to theatre and a seasoned professional in the software industry I began a search to find a software tool that could help me handle some of the paper and communication.   Much to my surprise, my searches did not include a lot of choices.   One product that I did find is called Line Notes by a company in Austin Texas called Thank You 5.  (Interesting name – “Thank You 5” is the courteous response and acknowledgement to a stage managers announcement of “5 minutes to places”.)

This posting is the first in many of a review of my experience with this software while working as an Assistant Stage Manager on a local theatre production.

My first experience with the software… 

When you go to the website there is a free download.  Don’t get too excited though because the download is limited in that you must use their sample data.  Nothing you do will be saved and so “trying it out” really isn’t possible if you are working on a production.  You can certainly try out their sample data but I found it to be really difficult to evaluate since it dealt with things that I was not familiar with.   My resolution to this problem was to simply contact the company and ask them if there was a way to test with my data and they graciously offered me temporary license after explaining to me that their current licensing mechanism just doesn’t support a “timed” trial model.

To license the software you must be connected to the Internet.  It makes a connection to their servers to validate that the license key that you are using is not being used on some other machine.   The licensing model is such that Line Notes can be used on a single machine at a time.  You can release the license (again while being connected to the Internet) so you can license another machine but you need to be aware that you should perform the appropriate exports if you expect to want to use your data on this other machine.  Data files were not accessible that I could find, and I didn’t really ask.

Once I was licensed it walks you through a process of setting up your first production.  You can step through each of the steps to get the basics completed and you don’t need to worry if you can’t get it done because you can come back to any of these functions that the first time “wizard” performs at a later time.

The line notes main interface page is quite simple and revolves around a rehearsal for a specific production.  Multiple productions can be setup and maintained at the same time and when you first open the Line Notes application it presents you with the production window asking which production you would like to work on, or which production related activities you would like to perform.  Since I only have one production running I just double click on my production and I am presented with the main interface page.

After creating the production the next important piece of business and the real reason for an application like this is to create the “people” that you will be communicating with.  Since Line Notes integrates with a script (more on that in future postings) you also need to create a link between the person and the role that they play in the production.

Adding the Production Staff is quite simple… Just select Production on the main interface “ring” menu and then select Production Staff List. (You can also use the Line Notes menu item and Address Book – The difference is there is not “Position” in the address book. -  This is a great feature if your production team repeats from production to productions) This opens a new window that will show you all of your staff defined in the right pane and a data entry form on the left.  Fill in the form, click on Add and it will move the person from the form into the right pane.   If you need to edit you click on the person in the right pane, click on the edit button it will pull the information to the left, where you make modifications and when complete you press Update.   Very clean, easy to use interface.

There are a number of challenges that I ran into.  All would be future feature requests that in my opinion would make the product better and suited to more theatres.

1.  There is not a lot of information about each of the production team members.  I would have liked to see more phone number spaces, home address, perhaps some user defined fields where I could keep track of things like vocal range, dance training, prior productions, etc.

2.  The “Position” field is also hard coded and not customizable so you have to use those that are provided.  They have most of what you would need but I found I would have liked to add a category or two simply for how I want to send out notes.

3.  Your production team can not be assigned to two different positions so you have to duplicate the records in the production database.   If you have an Actor that is also a Stagehand for the production there will be two entries for that person’s name instead of 1 entry with multiple positions.

4.  There is no reporting.  With the limited data fields I’m sure it was thought that it was not important but I found I was having to export the data to find out who hadn’t provided me an email address so I could go back in and update.

Next came the cast.  This is where you define who the character is, the names associated with that character in the script, and which of the Actors from the Production Staff play the part.  The interface is the same as you had with the Production Staff.  Characters and their assignments on the right and the form to complete on the left.   From the Production menu in the Main Interface you simply select Cast List and you fill out the form.   A nice feature if you are going to interface to a script is the ability to put the character name(s) as they are found in the script.  This will allow Line Notes to then create a line note from the script and send it to the appropriate actor without forcing me to use a long name.  For example in casual conversation and in discussion of the script we may use a common reference to Grady but in the script it defines him as Daryl Grady.  Line notes can work in this situation without a problem.

Again, I had challenges (I want it ALL in a software package)

1.  I would have liked additional fields… For example I can assign two actors to the same role which I may need to do because one is the understudy.   This functionality is allowed but there is no way to identify the reason there are two assignments.

2.  When making a duplicated assignment you are forced to type a character name even if the character is already defined.   Having a pull down list of character names already defined in the production would be nice.   I’m lazy I don’t want to have to type “Male Ensemble” or “Female Ensemble” over and over and over again for each of the ensemble members.

3.  Allow me to turn off the are you sure dialog after the first couple of warnings.  “Yes I know I already have someone assigned to Female Ensemble and Yes I do want to make this assignment again.”

In my next posting I will describe how I have started using the application even though we are still in music and dance rehearsals and I’m not doing true “line notes”.   We are definitely using it for production notes and find it is quite efficient.

I have also included some screen shots below.

Line Notes Production Window

Line Notes Main Interface Window

Line Notes Production Staff Window

Line Notes Cast Window

So here’s the story with my local hardware store and why it is soooo difficult for me to keep my business local.

I found the item I wanted on the hardware store’s national website and I could have had it all shipped directly to my house but I thought I would try to help out the local store and order it from them.

I called them on the phone… told them the exact item number I wanted and that I needed 5 cases of them.   The clerk asked for my name and phone number, and since I knew I was not going to be in town for about 3 weeks so I told her that I also wanted to give her my Spokane phone number.  I also let her know that if she needed to delay the order that would be fine because I was not in a hurry and would not be back in town for about 3 weeks.   She explained that it would take about 2 weeks for the freight to arrive from the warehouse and that she would go ahead and place the order and call me when they came it.

Friday (about 4 weeks after I placed the order) I stopped in the store and inquired.  There were multiple people that tried to help me and finally a gentleman went in back to check for the items.  He was not able to find them and phoned someone else.   The verdict… “The phone number you gave us was incorrect and we sent them back on this morning’s truck.”

First of all, the clerk that took the order had two of my phone numbers and IF SHE WROTE ONE OF THEM DOWN WRONG she could have tried the other.  I am also in the PHONE BOOK and had she bothered to look up my name she would have been able to call.  

Long story short I went online placed the $485.00 order, paid the shipping and I will have my items on Thursday.   Local business need to understand a little bit about customer service.   Not even an I’m sorry and of course it was my problem.   I guess I should have double and triple checked she wrote my phone number down and then had he send me a fax copy so I could verify that everyone could read her handwriting.  

Needless to say that this business will NO LONGER be receiving any of my business.   I can go to the Ace Hardware, Haney’s or if I want mediocre service even WalMart.

www.youtube.com/watch?v=vOhf3OvRXKg

The AACT (American Association of Community Theatre) holds a biennial festival where community theatre groups participate in state, regional, and ultimately a national competition of one of their productions.  There are some strict rules and guidelines that are followed and you can find the details on the website link above.

Some of the guidelines include:

The production can be no longer that 60 minutes in length.  For “Cuckoo’s Nest” this required that the play be shortened.  An interesting thing in doing this revision is that the lines can not be changed they need to be removed.  This meant that the original “F’enheimer” and “GDs”, as director Yvonne A.K. Johnson referred to them, were reintroduced after being removed from the mainstage production.  The actual performance time turned out to be close to 57 minutes after the script revision.  Timing starts at the first sound cue.

The entire set, props, etc.. must fit into a 10′ square.  For me this was the most intriguing part.  When we entered the theatre there was a “box” on the stage.  It wasn’t really a box, but all of the backdrops, folded into a square. 

The cast has 10 minutes to setup and tear down the entire set.  For this production that 10′ “box” opened up and there was everything from the gurney, table and chairs to the TV and the ward overhead lights.  When they are prepared to begin all of the cast and crew were on the stage and they all had to be touching the box.  Once they were instructed to begin, the stage came to life, and in a matter of about 7 minutes we had a fully operational and tested set ready for the actors.  The teardown went even faster.  I think someone in the audience said it was something like 4 minutes to put the entire set back into the 10′ square.

It was a very enjoyable experience and it was evident that everyone really worked hard and took pride in the accomplishment.

So how did they do?  Of the 11 groups in the competition only 2 were are chosen to compete in the regional competition coming up in Coeur d’Alene.  Spokane was not one of the two… Those distinctions go to the Bremerton Community Theatre for the production of Overtones, and the Driftwood Players of Edmonds for their production of Minnesota Moon. 

The Spokane Civic came away from the festival with the following accolades:

• Stage Manager’s Award for Technical Excellence – Costume Crew
• Outstanding Achievement in Set and Lights

Congratulations on those achievements!!  You can see the complete list of awards on the WSCTA website.

I would encourage you all to get involved with your local community theatre.  You don’t have to be an actor, or even a volunteer.  Your attendance at the productions supports the continued efforts of your theatre groups.   If you happen to be in Spokane I would encourage you to check out the website for the Civic.

“It is not the critic who counts, not the man who points out how the strong man stumbled, or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena; whose face is marred by the dust and sweat and blood; who strives valiantly; who errs and comes short again and again; who knows the great enthusiasms, the great devotions and spends himself in a worthy cause; who at the best, knows in the end the triumph of high achievement, and who, at worst, if he fails, at least fails while daring greatly; so that his place shall never be with those cold and timid souls who know neither victory or defeat.”  – Teddy Roosevelt

At any rate, I decided that this year I was going to buy a telescope.  Now I didn’t want just any telescope but I also didn’t want to spend a ton of money to find out that I ended up so frustrated that I didn’t use it.  After doing some research I finally decided that I was going to purchase a used Meade ETX125.  It should be here any day.

Now for the help and recommendations.

1.  Good books that any beginning backyard atronomer should have in their library?

2.  Eyepieces – It will have a 2x Barlow and the standard 26mm eyepiece.  What else should I get?

3.  What do you think of the Meade CCD Camera?  I’m somewhat of a computer geek remember and thought the astro photography and video could be interesting.

4.  Autostar – tips, tricks and pointers?

5.  Is anyone using Winstars or other computer assistance to control your scope?  What are your thoughts?

Wish me luck.  I’m hoping for some first light this month but with our crappy spring snow and rain I’m guessing I will not have much luck.