Diane Paulus with her Tony Award for directing Hair.

The artistic director of American Repertory Theater spends more time with SD.

Diane Paulus had a lot to say, above and beyond her words on the Porgy and Bess revision. In our two conversations with her she held forth whether commercial concerns affect her work, why she challenges presentation conventions, and even had some advice for directors starting out. All this and a slideshow of images from the Broadway production of The Gershwins’ Porgy and Bess after the jump!

Here's the contract language from a few of the large play publishers stating their policy on script changes:

Bernadette Peters in the 2011 Broadway revival of Follies. Photo by Joan Marcus

The creative team shares more about their process for the Broadway revival.

[Follies is a big show, and necessitates big coverage. Here’s more from Director Eric Schaeffer, Costume Designer Gregg Barnes and Set Designer Derek McLane about their successful revival. –editor]

In 1972, Follies practically swept the Tony Awards, winning in several categories. Among the wins were Stephen Sondheim for Score, Harold Prince and Michael Bennett for Direction of a Musical, Michael Bennett for Choreography, Florence Klotz for Costume Design, Tharon Musser for Lighting Design, Boris Aronson for Scenic Design, and Alexis Smith for Best Actress in a Musical.

The Follies ensemble.

The team behind the Broadway revival of Follies talks about the time necessary to get this production right.

[To hear more from the production team, and to check out a slideshow of more production stills, click over to our online bonus coverage here. -ed.]

A few years ago, Eric Schaeffer, artistic director of Signature Theatre in New York, was chosen by the Kennedy Center for the daunting task of directing a revival of James Goldman and Stephen Sondheim’s iconic musical, Follies. His production opened at the Kennedy Center in spring, then made a successful leap to Broadway this fall, with its 41-person cast and 28-member orchestra intact.

SD Editor Jacob Coakley

Resolutions are fine, as long as you have a way to measure them.

How many of you track your New Year’s Resolutions? Do you codify them into goals, develop a plan to achieve them, and then follow that plan? (Improvising along the way, if need be?) And if you do, how do you measure your progress or success?

A moment from the world premiere of Adam Bock’s Phaedra at Shotgun Players in Berkeley, Calif., with lighting design by Lucas Krech

Light travels in a straight line, but it can be bounced

For the world premiere of Adam Bock’s Phaedra with the Shotgun Players in Berkeley, Calif., I was presented with quite a challenge from my scenic designer. The play is set in the home of a family in suburban Connecticut. Not only did the style of production demand strict naturalistic realism (not simply stage realism), but the scenic designer gave me the opportunity to do this on a two-story set with only 48 dimmers at my disposal.

Chris Cronin, sound designer for Private Lives on Broadway.

Chris Cronin wasn’t the first sound designer on Private Lives, but this is one relationship that worked out.

Scenic designer Rob Howell jokes that there is a production of Noël Coward’s Private Lives being staged somewhere in the world during any 24 hour period. That’s a testament to the quality of the writing and the timelessness of its narrative, which finds a divorced couple accidentally staying adjacent to one another while honeymooning their new spouses on the French Riviera. Naturally all sorts of nostalgic and sexual shenanigans ensue. Originally written in 1930, the play resonates with modern audiences with its mischievous tone and sly views on marriage and divorce.

Lighting and the Design Idea (Third Edition) by Linda Essig and Jennifer Setlow

Reviewing the book and talking to the authors of Lighting and The Design Idea (Third Edition)

My conversations with author Linda Essig—lighting designer and founding director of Arizona State University's School of Theatre and Film and co-author of Lighting and the Design Idea (Third Edition)—for this article didn’t start in person at a conference like USITT, or even over the phone or through email. They started over Twitter, where both of us have engaged in an international dialogue with several theatrical lighting designers. As head of ASU’s new arts entrepreneurship program, p.a.v.e., Essig knows the inherent benefits of networking for moving a career forward, so of course she engages with as many people as possible through Twitter. She even talks about the effects social media and networking can have on a career in Chapter 15 of the new edition of Lighting and the Design Idea—and the fact that she does so in a lighting design textbook is a great example of the strength of Essig’s approach, which places an emphasis on the thinking behind, and approaches to, good lighting design, as opposed to focusing solely on technical matters.

The COS-11D head-worn condenser microphone in use

A gear review of the Sanken COS-11D HWM miniature head-worn microphone

When I first got the email to review the new Sanken COS-11D microphone, I was pretty excited. In general, headset mics are very handy. The user has both of their hands free to play an instrument, give a presentation, draw on a whiteboard or just use two-hand gestures (if they are Italian). Plus, they have the freedom to move about the stage or audience. The downside of these mics is that they don’t really sound very natural, and they can be prone to feedback.

The Clear-com HME DX210

A long look at the Clear-Com HME DX210

During November and December, I had the opportunity to field test Clear-Com’s latest wireless system: the HME DX210. The HME DX210 is a two-channel intercom system that operates in the 2.4GHz band. Its basic setup consists of a 1RU base station (BS210), beltpacks (BP210) and an all-in-one wireless headset (WH210). In addition to testing the system amongst the audio crew, we also let our stage ops have at it, using the system in the run of our holiday musical, A Christmas Memory.

Tayneshia Jefferson and David S. Stewart with Aaron Rowe (sitting) of the Disney Entertainment Group at the 2009 USITT conference.

Tayneshia Jefferson and David S. Stewart share their story

[When I asked Tayneshia and David to write this article for SD, I wanted them to include a short history of how they ended up in theatre. We didn’t have room for it in print, but we do online! If you just want to jump to the “How To Guide”—click here! -ed]

David Stewart
I had no idea theatre was going to be my life. In high school I needed another class to complete my registration and had no thoughts as to what class I should enroll. A friend of mine suggested taking stagecraft because it would be “an easy A”. Well, it was far from easy as my teacher, John Van Epps, ran this class with an iron fist. So why go into theatre based on that bit of knowledge? This man pushed me harder than any of my other teachers and would not settle for mediocre work. Inspired by my newfound love of theatre, I ventured off to pursue a degree in technical theatre at Loretto Heights College in Colorado.

Cigarettes, marijuana and all tobacco and smoking substances affect a singer or speaker in multiple ways and with long-term consequences. The damage caused by cigarettes is well-documented, but few people realize that the inhalation or “drag” of a cigarette creates an influx of air heated up to 1500 degrees Farenheit. Essentially, any type of smoking bakes the lungs and, over time, destroys the alveolar sacs in the lungs that are responsible for the gas exchange between fresh oxygen for the blood and removing the waste by-product of carbon dioxide. The diseases such as emphysema and COPD are horrible conditions in which these tiny sacs of alveoli, all 600 million of them, have been irreparably degraded over time, becoming unable to effectively manage the exchange of oxygen and carbon dioxide as well as expel the mucous that lodges in there as well.

Colds aren't all you need to worry about when protecting your voice. Photo by Allan Foster.

The winter months can wreak havoc on your voice, here’s how you can fight back.

Vocal health is one of those topics we performers know we should pay attention to, but may not always practice. As we go along in our busy daily lives, we may not think about taking care of the voice until a symptom rears its ugly head that has us running for the nearest fix-me-now med or gloopy cough syrup. However, medications that offer immediate relief may do damage themselves or at least mask other symptoms that signify other issues that need to be addressed. So, in honor of both cold and audition season (and how we love how they coincide…) here’s a refresher on how to ensure your voice stays in top shape.

Tayneshia Jefferson and David S. Stewart with Aaron Rowe (sitting) of the Disney Entertainment Group at the 2009 USITT conference.

What it’s like being a minority in technical theatre

[To read more about Tayneshia and David's story in the theatre, as well as read (and add to) Tayneshia's "How to Interact with the Minority Theatre Professional in Your Life" guide, click here. -ed]

Imagine that someone charges you with the task of hiring a Black production manager. Once you have successfully navigated the why’s, wherefores and “say whats?” that making such a charged request would elicit in our current socio-political climate, you would find that you had very few options before you. Your hiring pool would be extremely meager, albeit spectacularly talented. Your hiring pool would consist of two individuals: David Stewart, production manager and SM instructor for the University of Wisconsin–Madison; and Tayneshia Jefferson, production manager/stage management lecturer for Indiana University’s Department of Theatre and Drama. Us.

The new additions to Meyer’s low-voltage speaker line, the UPM-1XP, UPJunior-XP, and the UMS-1XP.

Meyer Sound’s line of self-powered, low-voltage audio solutions has grown with the addition of three new 48-volt, DC-powered loudspeakers: the UPM-1XP, UPJunior-XP, and the UMS-1XP.

Soundcraft has released V2 of the software controlling their Si Compact Mixer

Harman Soundcraft just upgraded the software for its Si Compact mixer, a small-format digital console. The free V2 upgrade provides more than 23 major new features, updates and enhancements; the first being eight additional DSP channels expanding the Si Compact 16 and Si Compact 24 to 32 and 40 inputs to mix, respectively. The new user configurable fader layers allowing input channels to be reassigned anywhere on either input layer and any bus master reassigned to either master layer. Now an engineer can put the inputs and returns where he or she most needs them.

A screenshot of QMix on the iPhone

The free QMix app from PreSonus allows up to 10 performers to simultaneously control their StudioLive mixes using an iPhone or iPod touch. QMix works by networking one or more iPhones wirelessly with a Mac or PC, enabling QMix to remotely access Virtual StudioLive to control one or more FireWire-connected StudioLive mixers. As each iPhone connects to the network, its copy of QMix will discover all StudioLive mixers on the network, enabling each performer to quickly and easily create an aux mix that includes all mixer channels. And QMix lets the engineer set permissions so that each iPhone on the network only controls a specified mix.

The Sennheiser XS Wireless Series Presentation Set

Sennheiser’s XS Wireless Series is an entry-level wireless microphone system designed for users who want to easily go wireless. The transmitters have a battery life of up to 10 hours, while a switching bandwidth of 24 MHz (13 MHz for the E frequency range) allows up to 12 wireless links to be operated simultaneously The series is comprised of two vocal sets, an instrument system and presentation sets with clip-on microphone or a headmic.

JBL PRX400 Series Portable PA Loudspeakers

JBL’s new JBL PRX400 Series includes the 15-inch PRX415M, 12-inch PRX412M and dual 15-inch PRX425 loudspeakers, as well as the 18-inch PRX418 subwoofer. The PRX415M and PRX412M can be used as either mains or monitors and when used with the PRX418 subwoofer, provide a sat/subwoofer system capable of delivering 135dB of full-range, high-quality sound. The PRX425 dual-15-inch, 2-way speaker adds powerful low-frequency extension from the convenience of a standalone cabinet.

The Audio-Technica ATM510 Cardiodand Dynamic Handheld microphone

Audio-Technica’s new ATM510 cardioid dynamic handheld microphone and ATM610a hypercardioid dynamic handheld microphone feature: rugged, all-metal design and a newly designed internal shock mounting to reduce handling and stage noise; Hi-ENERGY neodymium magnets for articulate vocal reproduction; a multi-stage grille design, offering excellent protection against plosives and sibilance without compromising high-frequency clarity; Quiet-Flex stand clamp for silent, flexible microphone positioning; and corrosion-resistant contacts from the gold-plated XLRM-type connector.

The AKG DMS Digital Wireless Microphone

AKG’s DMS 70 is an uncompressed digital wireless system that operates with 24bit 48 kHz transmission in the 2.4GHz ISM band, a worldwide license-free frequency rangeI. It is designed for quick and easy setup in any live sound environment. The entire DMS 70 package includes: AKG’s DSR 70 Quattro or DSR 70 Dual Receiver, DPT 70 Digital Pocket Transmitter and DHT 70 Digital Handheld Transmitter, available with patented D5 acoustics or DHT 70 Perception with standard supercardioid capsule. The DSR 70 Quattro includes a rack mount kit, power supply and other accessories. DMS 70 systems are fully compatible – able to be customized and combined for any customer’s needs.

Gerriets’ Kabuki ECO Controller mounted on batten and connected to G2 Release Unit via 6-foot cable.

Gerriets International Kabuki ECO Controller is a control box for Gerriets’ Kabuki curtain-drop system that enables users to trigger up to 10 Gerriets Kabuki G2 Release Units by simply providing 120 or 230 volt AC power. This product expands Gerriets’ popular Kabuki line of curtain-drop components to include a basic, economical, plug-and-play system. Gerriets’ G2 Release Unit uses friction-free, electronically triggered hooks (instead of solenoids or pins) to suspend and then release a curtain. The Kabuki ECO Controller system is designed for quick and easy installation—the controller mounts on pipe batten, truss, etc., directly alongside last G2 release unit in chain—and it has a compact profile. The controller measures just 7½” wide x 8¾” high x 3” deep. The controller also has remote capability and can be incorporated into a non-dim circuit on a lighting control system for operation from a lighting board. The ECO rental systems come in compact road cases (scaled for UPS; no need for special freight).

The GLP Wash One

GLP’s Wash One offers a Fresnel-based optical system with a full feature set of beam control options. It uses the same 400W RGB LED light engine as the Impression Spot One, the Wash One with a 6°-60° zoom range—but also has a 3° narrow beam mode to offer further flexibility to designers. The Wash One comes with a variable soft-edge control. The Wash One’s baseless yoke gives it a weight of just 48.5 lbs

The Apollo Multiform HP3-90 (left) and HP5-70 LED fixtures

The new Multiform HP3-90 and HP5-70 LED fixtures from Apollo are the latest in their Multispot series. The 90 watt, 25° HP3-90 comes with a high-output RGB LED engine and can be programmed using RGB (red, green, blue) or HSL (hue, saturation, level) control. The Multiform HP5-70 is a high powered five color (RGBAW) fixture for color critical applications. Both the HP3-90 and HP5-70 incorporate a user-friendly LCD display. Flicker free operation, tunable white, auto addressing and rugged IP20 or IP65 platforms are just some of the features included.

The Allen & Heath GLD Live Digital Mixing System

The Allen & Heath GLD Live digital mixing system, which will debut at Winter NAMM in late January, is designed to be user-friendly, cost-effective and scalable. Based on the iLive series, a standard GLD 32 input system offers 28 XLR mic inputs with plug n’ play I/O expanders allowing expansion up to 48 inputs (44 XLR mic inputs). The GLD-80 mixer, provides 48 input processing channels, eight stereo FX returns fed by iLive’s FX emulations, 30 configurable buses, 20 mix processing channels, and DSP power to provide full processing without compromise.

Elation Opti QA Par

The Elation Opti QA Par is a powerful, compact, energy-efficient color-mixing par with 18 x 5-watt RGBA LEDs that draws only 140 watts of electricity at maximum use. It uses Quad Color Technology to combine red, green, blue and amber in each LED source for color blending and the elimination of annoying shadows often produced by fixtures with single-color LEDs. It uses amber LEDs, rather than white, to supply warmer, richer blended colors. Featuring DMX or manual operation, the Opti QA Par includes dimming, strobing and a standard 10° beam angle. It comes equipped with a split yoke bracket that allows it be set on the floor or mounted on a wall or trussing.

Elation Flex Pixel WP Tape

This thin and flexible LED circuit strip features an adhesive backing and comes in 10-foot spools of 70 RGB pixels each, which can be cut into strips of desired length, then “taped” onto virtually any surface. It comes with a waterproof covering designed to keep it high and dry and protected against moisture. The proprietary Flex Pixel Driver 1 can drive up to 140 pixels (2 tapes) and optional Flex Pixel IRC Driver and Wireless Remote can help users create dynamic lighting patterns. Also available is an optional 5V DC power supply, the Flex Pixel 5VPSU.

Elation EPV15 Flex Video Panel

Elation’s new EPV15 Flex flexible LED video panel is designed for creating curved video walls, and can bend, coil and wrap around any surface, whether flat or dimensional, making it possible to install a high-impact video wall anywhere—indoors or outdoors—in spaces of any shape or size. It has a IP65 rating for the front of the unit and an IP54 rating for the back. It features a 15mm pixel pitch, 4,500-nit brightness and 12m minimum viewing distance.  Each EPV15 Flex panel measures 19.2” x 19.2” (480mm x 480mm) and includes its own built-in PSU 100V-240V power supply.

Elation EVCMH Moving Head Video Camera

EVCMH Moving Head Video Camera – The EVCMH is a DMX-512 moving head video camera designed to spotlight almost anything and project it onto a video wall or TV.  It features DMX-512 controllable pan/tilt, zoom and focus, allowing it to “capture” almost any person or object in a room, dance floor or exhibit. The camera features 48 warm and cool white LEDs (24 of each), allowing users to customize its shade of white to work with different skin tones and ambient light – ensuring that it will always project the best image. The EVCMH camera’s features include: 60° beam angle, 8 DMX channels, dimmer, estimated 50,000 hours LED life, 5-pin XLR in and out, 36-watt power consumption.

American DJ Flat Par CWWW9

American DJ's new Flat Par CWWW9 and Flat Par CWWW18 LED par cans are designed to enable users to dial up whatever shade of white is needed. The units can produce variable color temperatures from 3400°K to 7400°K and also feature a “sit-flat” design that gives them the versatility to be used many different ways: as overhead stage lighting, uplighting, or even inside truss as a truss toner.  Housed in a very low-profile case, both models include dual hanging brackets and have their power and DMX connectors positioned on the side of the unit rather than the rear, allowing it to sit flat on the ground, or inside truss without brackets. The Flat Par CWWW9 and Flat Par CWWW18 also come with a bracket and safety hook on the rear panel.