AVENUE Q: an ENDEAVOR in TECHNICAL DIRECTION Brendan Greene-Walsh University of Nebraska - Lincoln, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research and Creative Activity in Theatre Theatre and Film, Johnny Carson School of and Film
5-2018 AVENUE Q: AN ENDEAVOR IN TECHNICAL DIRECTION Brendan Greene-Walsh University of Nebraska - Lincoln, [email protected]
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AVENUE Q:
AN ENDEAVOR IN TECHNICAL DIRECTION
by
Brendan Robert Greene-Walsh
A THESIS
Presented to the Faculty of
The Graduate College at the University of Nebraska
In Partial Fulfillment of Requirements
For the Degree of Master of Fine Arts
Major: Theatre Arts
Under the Supervision of Professor Mitchell L. Critel
Lincoln, Nebraska
May, 2018
Avenue Q:
An Endeavor in Technical Direction
Brendan Robert Greene-Walsh, M. F. A.
University of Nebraska, 2018
Advisor: Mitchell L. Critel
The Johnny Carson School of Theatre and Film at the University of Nebraska began its spring semester of the 2017-2018 season with a production of Avenue Q.
Director Andy Park staged this production in the Johnny Carson Studio at the Lied
Center on the University of Nebraska campus. My role in the production was that of technical director. The responsibilities of the technical director include budgeting of departmental resources, money and labor, engineering and construction of all scenic elements, maintaining a safe working environment, creating and adhering to a timely build schedule, maintaining the designer’s aesthetic vision throughout, the transportation and installation of all scenic elements to the performance space and removal of all elements following the completion of the production.
This thesis details the process necessary to take a conceptual design and put it into a working reality within the confines of budget, time and available skill. Following the conclusion of this thesis is a series of appendices to support the written information.
iii
Table of Contents
Chapter 1: Introduction 1
Chapter 2: Preproduction 3
Chapter 3: Construction 11
Chapter 4: Load In 17
Chapter 5: Technical Rehearsals 22
Chapter 6: Performances 27
Chapter 7: Strike 28
Chapter 8: Budgeting 30
Chapter 9: Conclusion 31
Appendix A: Designer Reference Materials 33
Appendix B: Technical Drafting 36
Appendix C: Documentation 66
Appendix D: Construction Process Photographs 86
Appendix E: Production Photographs 102
1
Chapter 1: Introduction
The Johnny Carson School of Theatre and Film began the spring semester of the 2017-2018 season with a production of Avenue Q. The production took place in the Johnny Carson Studio Theatre located in the Lied Center on the campus of the University of Nebraska. The production officially opened on March 2, 2018 and closed on March 16, 2018 with a total of fifteen performances. The production team included Andy Park (director), Jessica Thompson (scenic designer), Jamie Bullins
(costume designer), Laurel Shoemaker (lighting designer) and Emily Callahan (sound designer). I received the assignment of technical director for the production during the spring of 2017.
Avenue Q was written by Robert Lopez and Jeff Marx with book by Jeff Whitty. It opened on Broadway in 2003 at the John Golden Theatre, where it won three Tony
Awards. The musical is a comedic satire on the maturation process of becoming an adult and having to leave behind the false realities ingrained in the heads of adolescents growing up. The production incorporates puppets, puppeteers and human actors in a not-so-subtle imitation of the world created for Sesame Street. This world, however, is firmly rooted in modern day trials and tribulations and the realities that begin to set in once youth reaches adulthood. The show primarily follows the life of Princeton, a recent college graduate who has found himself with no money, no applicable skills and no idea how to navigate this newfound and rather harsh world.
The audience watches as Princeton traverses his way through romance and 2 heartbreak, the extremes of both good and bad advice, and general despair, with musical comedy relief underscoring everything.
This thesis is intended as a detailed overview of the process of taking the artistic and aesthetic goals of the production team as a whole and bringing them into a finite and produced reality. The main objective of the technical director follows closely to the work of the scenic designer. The ultimate goal of the technical director is to maintain the scenic designer’s artistic and aesthetic vision from start to finish. The technical director accomplishes this process through a variety of means. Primary responsibilities include accurate budgeting of time, resources and materials, engineering and construction of scenic elements, implementing schedules to allow successful completion, maintaining a safe working environment throughout and maintaining effective communication with all interdepartmental staff.
This production had a working budget of only $3,500.00, an amount which was to cover all major scenic elements as well as all paint supplies. We received a six-week window for the build schedule with three days available to pack the set into a box truck and transport it to the performance space and install. The major components of the design included two buildings façades, each with a second level, a third building façade with a standing level above it, a custom projection screen, a full stage silhouetted ground row as well as a full stage sub-deck to install the units atop.
3
Chapter 2: Preproduction
Design meetings for Avenue Q began in September of 2017 with the design team and director discussing the practical needs for the production. While the technical director is not required to attend design meetings, my personal preference is to be involved as early in the process as possible. I view my role in these meetings as being a general observer of ideas and as a sounding board should any concerns arise.
This level of early involvement also provides a cursory background on why and how design choices are being made and their intended effect. A few particularly notable revelations from these meetings were the use of a live, six piece band on stage, the use of projections throughout, the lighting designer’s interest in utilizing spot lights in a performance space that did not naturally accommodate their usage and the growing interest of the scenic designer to incorporate puppet-like functions into the set itself, rendering the set itself as a giant puppet.
While none of these revelations fell solely under my purview, I felt it in the best interests of the production as a whole to begin investigating some solutions. Due to the fact that the Johnny Carson Studio is not located in the building that houses the theatre department (the Temple Building), my working knowledge of the space was far less familiar than with the other performance spaces in the Temple Building. As such, I scheduled a walkthrough of the space with Dan Stratman, the director of production at the Lied Center. The walkthrough was an informal event but afforded me the time to see the space without any scenic elements installed, to inspect the seating units that we would be utilizing and to take a few field measurements to 4 ensure that the technical drafting of the building from which we were working was accurate enough to avoid significant obstacles as we proceeded. During this meeting I mentioned to Stratman that we were thinking of methods which might best incorporate the spotlights at the rear of seating units. Stratman mentioned that the
Glenn Korff School of Music owned some scaffolding units that could potentially work, as they had built in walk through openings so that we could maintain proper fire code egress. I conveyed this information to the production team and we determined that the lighting department would contact the School of Music to inquire about the aforementioned scaffolding’s size and potential usage.
The design meetings shifted focus to become production meetings allowing the facilitation of the production to begin to take shape while respective designers were fine-tuning their work. During these meetings it was evident that a challenging aspect of the production was growing in scale and concern and that was the use of projections. While the Johnny Carson School of Theatre and Film has some stock of video equipment, it is incredibly limited. There was also a noteworthy concern with where responsibilities fell for not only sourcing the necessary equipment and its setup, but also who would be responsible for the creation of the content. Fortunately, two undergraduate students in the film department, Michaela Wadzinski and Ethan
Grafton, were willing to take on the task of content creation under the supervision of faculty advisor Steve Kolbe.
With half of the matter solved, the responsibility of the technical aspect of projection use was still batted around the room with no one department looking to claim ownership. The particular challenge of using projections in Carson School 5 productions lies in the absence of one person on faculty or staff who has expertise enough to answer difficult questions concerning the technical needs and requirements of equipment. Before frustrations could grow any further, I took this responsibility upon myself. With base working knowledge of projections I suggested that we utilize a rear projection screen to minimize the amount of ambient light with the hope to have a bright enough image for the audience. Based on the initial working ground plan from the scenic designer, there was slightly more than five feet of space behind a screen that was roughly ten feet by six feet. Kolbe recommended that we aim to keep the aspect ratio at 16:9 for video content’s sake. I then began research into the throw angle of projector lenses, potential necessary lumen output, resolution and cost of procurement.
The first component I needed to understand was how the throw of the lens dictated the distance away from the screen necessary to create the intended projection size. Throw ratio is expressed in a numerical ratio; for example a lens with a throw ratio of 1.5:1 means that for every one foot of screen width you require, the projector must been one and a half feet away. A projector with the throw ratio of 2.0:1 would require two feet of distance from the screen for a one foot wide image. With this information I calculated that the absolute largest throw ratio for a lens for our purposes would have to be in the 0.6:1 range but hopefully shorter than that, 0.5:1 would be ideal. This throw ratio is classified as a short throw lens. Having working knowledge of the JCSTF projection equipment stock, I was less than optimistic that we would have anything remotely close. A conversation with the house electrician Kathy
Turner confirmed my suspicions. Most projectors that the department owns are long 6 throw in the range of 3.9-7.3:1. The shortest throw lens in stock was a 1.5-2.24:1, which was not going to function for our needs.
The next line of inquiry led me to the Hixson-Lied College of Fine and
Performing Arts Information and Technology Services. David Bagby, the manager of IT
Services, informed me that unfortunately the college owned no projectors with a lens throw within the range that I was searching. Bagby did however say that there was a portable rear projection screen available that I could borrow for testing. Half of what I needed was better than nothing at all. Broadening the search sent me in two different directions. I first contacted Dog and Pony Productions, an audio/video rental company based in Omaha, Nebraska. Dog and Pony Productions had a projector in stock that could swap lenses in order to accommodate my needs, but they did not own said lens.
Dog and Pony could rent it from another company and then sub-rent it for the production. While it was a relief finally to find some potential answers, that relief was fleeting: the rental price came in at nearly $5,000.00 for the run of the production.
Considering the rental price was $1,500.00 beyond the scope of the entire scenic budget, it was quickly evident that renting it would not be a feasible solution.
I subsequently contacted William Van Deest, my undergraduate advisor and the theatre coordinator at Creighton University in Omaha. I recalled using projections on a few shows during my years at Creighton, but I had no knowledge of what was in their current inventory. Van Deest confirmed that they owned two ultra-short throw projectors and that I could borrow one to test and see if it would suit our needs. Now with both a borrowed projector and a borrowed screen I moved forward into the testing phase. On December 14th I conducted a video test setup on the main stage of 7
Howell Theatre in the Temple Building. I opted to use this space due to having conventional theatrical lighting hung that I could utilize to gauge ambient light bounce that would be likely during production. Invited to the test were Jessica
Thompson, Laurel Shoemaker and Andy Park, as well as JD Madsen (Professor of
Scenic Design) and Mitchell L. Critel (Professor of Technical Direction).
The test was successful in that we were able to project an image from very short distance from the rear of the screen and that it was visible through ambient theatrical light at a distance of nearly fifty feet away. Though the team agreed that the projector would fit the needs of the production, I was left wanting a better option. The image degradation beyond eight feet in width, the lower resolution and the low lumen output gave me cause for concern. I again contacted Van Deest and discussed my misgivings. He agreed and mentioned that he may have another option through an audio/visual specialist whom he contracts for work. Two weeks following I had a second option to test, one that was newer and smaller with a higher resolution and brighter lumen output. Within moments of testing the second projector my concerns were put to rest. It was evident that this projector would be capable of fulfilling the needs of the production, and being able to borrow the projector at no cost was just as big of a bonus.
With the business of projections more or less put to bed, I was now able to focus on my primary concern, the scenic design. The initial design packet was due on
December 8th for cost analysis with my costing due on December 15th. I received the packet on December 11th and quickly got to work. The idea of creating building structures that mimicked puppet actions meant that entire walls were able to pivot 8 and slide open and close. Such mimicry, while interesting, posed a significant challenge in the eventual engineering of those components. Most often, when large scale movement of scenic elements is involved in a design, the cost begins to rise in lockstep. Another considerable element of the initial design that was going to add to building costs was a cantilevered second level to house the entire band so they were not taking up a significant portion of the main playing space for the actors. Over four days I worked through the multitude of scenic elements. My process of cost analysis involves a component of pre-engineering where I began to determine how structures must be built in order to determine materials and quantities.
I completed the cost analysis before meeting with Thompson, Park and Critel on December 15th. The result of the analysis was that the initial design was roughly
$8,500.00 over budget. Quite candidly, I would say this surprised no one in the room.
In order to construct the main scenic elements and have them resilient enough for transport to another theatre, I opted for an all steel frame construction. This was particularly necessary for the units that opened and closed for durability’s sake, as well as the cantilevered band platform. Professor Critel and I offered suggestions to
Thompson about minimizing some of the intricacies of the design without losing the aesthetic qualities. One of the main suggestions was that the functionality of the set as a puppet be discarded in place of a more traditional façade to the buildings. Another suggestion was to design a way so that the band platform was able to have more vertical support, thus requiring less heavy duty structural steel for construction. At the conclusion of the meeting we determined that Thompson would have five days for revisions, after which I would embark on another cost analysis. This delay pushed 9 revisions and re-costing into winter break, a period we had earmarked for the engineering process of the production.
Thompson began sending gradual revisions starting on December 20th with a completed packet arriving December 23rd. It became evident that she was holding onto the idea that the set function as a puppet, albeit on a lesser scale. I completed the subsequent cost analysis on December 24th, but the design still exceeded $4,000.00 beyond working budget. At this point I had to be very honest and insist on austerity: if the design were going to be realized the idea of its puppet like functions would have to expire. This was not easy for Thompson, nor me. I was truly excited by the concept of the design. Avenue Q has been produced without such machinations time and time again, but this was an opportunity to create an interesting take on what has become a commonplace design. It was nevertheless unfeasible within the working budget.
Thompson set to work on another round of revisions which were more in line with a redesign of the set, which I received on December 28th and began re-costing.
I completed the cost analysis of the redesigned set on December 29th, and though still over budget, it was now within an allowable range that I felt could become achievable. Major changes came from eliminating the puppet-like mechanics of the buildings as well as moving the band to the upstage area of the main playing space instead of housing them on a second level platform. I scheduled a phone conversation with professor Critel to discuss how and where the design had changed and to confer with him about the amount that it was currently over budget. I suggested that lowering my contingency budget line (a cost reserved for unexpected expenses), moving a few cost items from scenic to props and charging the cost of the 10 custom built rear projection screen to a special effects cost line would allow the show to be within budget. Critel agreed and we were able to proceed with the design, without losing significant visual aesthetics from the intent of the original design.
On December 30th I began the engineering process in earnest and with a quickened pace. Build on the set was slated to begin January 2, 2018 but I remained doubtful about time sufficient to create enough working drafting for the shop to begin by that date. The engineering process would take me the ensuing two weeks to complete, working mostly during the evening or whenever not in class. The largest downside to working through the costing and redesign process over winter break was it had consumed all of the time earmarked to engineer the show effectively. This process inevitably led to a few oversights on my part but thankfully nothing that was insurmountable.
11
Chapter 3: Construction
Construction of the show officially began on January 3, 2018, not too far off the intended start date of the 2nd. Classes did not begin until January 8th, so during this week the labor force consisted of fellow technical direction graduate students Daniel
D’Egnuff, Michael Strickland and me. I had my counterparts begin construction on the sub-deck pieces we would have to build to accommodate the set within the constraints of the Johnny Carson Studio. Any scenery utilized in the studio we had to install atop a sub-deck of our own design and creation so that we could anchor down set pieces to it. The studio has a battleship linoleum floor of which the Lied staff is very protective, so protective indeed that a single screw hole into their floor came with a repair bill of $100.00. At this point in the budget we were mindful to avoid such costly mistakes. We completed construction of the sub-deck early the following week and gave it to the paint shop.
Classes for the 2018 spring semester began January 8th, meaning that we would soon have the undergraduate student force back in the shop to assist in the build process. The scene shop employs four undergraduate workers: first year students
Karen Husband and RaeAnn McCoy and second year students Colin Falk and Dylan
Spilinek. Professor Critel assigned Spilinek the task of master carpenter for the show.
These students are vital in the function of the shop, whether it is taking on individual projects or utilizing other students to complete larger projects. The students in the other pool of workers come from lab components in the Intro to Theatre class (THEA
112) or the Technical Theatre Practice course (THEA 201). The total expected number 12 of students for the semester would reach around 55. These students, however, needed to go through safety orientation before being allowed to begin their lab hours, so their anticipated start date was another week away.
During the first week of classes the four shop employees along with the graduate students began work on the façades of the center stage unit and the stage left unit. The center stage unit split into two sections, a first and second floor in order for ease of construction, but also for transportation out of the building and into the performance space. Each level of the center stage unit consisted of five walls, while the stage left unit consisted of three walls. Work on these units continued into the following week and we completed work on them January 18th, after which we handed off to the paint shop. The shop had been operating at a substantial pace up to this point, and I feared that the introduction of lab students could potentially begin to bog down that progress. This observation is by no means a knock on the lab students coming in to work, but it is rooted in the reality that most, if not all of them, have little to no prior experience working in a scene shop. And as an instructor of one of the sections of THEA 201 I do not expect them to. Their lack of experience is the specific reason for offering the course. That inexperience, however, means that they require more time, careful consideration and considerable oversight as they begin working in the shop. During this week a sizable order for steel arrived, which I planned to use for construction of the stage right unit, the fire escape, the ships ladders used to access all second levels, as well as the frame for the custom projection screen.
To my delectation, the overall progress and pace of the shop was functioning well and it did not begin to slow with the addition of lab students. Their eagerness to 13 hop in and their willingness to deal with some of the more mundane tasks kept the build moving ahead. There was one day in particular where the assistant technical director Daniel D’Egnuff stopped and forced me to take count of the number of humans working in the shop. The total number was somewhere near twenty four, which is generally more than double what the scene shop can typically accomodate.
Beginning the week of January 22nd I divided the specific workload in the shop.
The stage right unit façade, fire escape, ships ladders and projection screen were all being fabricated from steel. The process of cutting, preparing and MIG (metal intert gas) welding is beyond the experience of most student labor in the shop. I tasked
D’Egnuff as head of this operation with the assistance of master carpenter Dylan
Spilinek and shop employee Colin Falk. I thus divided the bulk of the lab students amongst the paint shop and scene shop employee Karen Husband along with graduate student Michael Strickland to begin work on the ground row. The ground row was a silhouetted backdrop with the cityscape of New York City cut out of it. The overall size was forty feet wide by almost eighteen feet tall.
Initially I had considered utilizing the Computer Numeric Controlled (CNC) machine the Carson School owns to complete this task by loading the vector based files and having the machine cut the profiles. After further evaluation I determined it would be in the best interests of the shop and the lab students to utilize an alternative method using a video projector to trace the images onto the material and then cut the shapes out with hand power tools. While I am I staunch supporter of technology and assisted in the research process for the grant for the CNC machine, I also firmly believe that it would have been taking basic learning and an opportunity to work with tools 14 away from the lab students. The accuracy would have been infinitely more precise had the CNC been utilized, but for this particular application I felt it was far more important to put tools into the hands of those that were there to learn, and learn how to use them properly.
The work on these respective projects continued through the week and into the following. During this week, however, it became apparent that the size and scope of the design had put the shop at, if not beyond, capacity. In order to keep all build projects moving forward the scene shop had effectively stretched out into every available space within the Temple building. The shop itself was occupied with building the ground row and painting the center stage unit. I was utilizing the studio theatre to trace the ground row panels as well as using it as a full sized paint shop. The entire
Howell theatre stage had been taken over by the sub-deck which was waiting for its final paint treatment after receiving a base coat of black. The stage left unit was receiving final paint touches in the wagon house off stage left of Howell, and the metal shop was beyond capacity. We were quickly running out of space, and that crunch complicated the looming exigency of building the additional scenic units. It was also around this time that I began to worry that the paint shop was not going to complete their work successfully. They had spent three weeks working on samples to this point and only the smallest unit in the show had been completed.
With two weeks left in the build schedule I worked to move all available hands to assist with paint as I could afford. The remaining scenic elements to be built included the platforms for the stage left, center stage and stage right units and a series of jacks to support the ground row. The stage right unit was welded and ready to be 15 covered in lauan for paint. The fire escape, the projection screen and trim for all units were the final components to complete. The doors for the three units had come from the stock that the Carson School owned. I asked Strickland to clean the doors up and then create custom jambs so they could be installed into each unit. As D’Egnuff was finishing up the welding projects I then had him turn his attention to cutting and creating the trim work that would adorn all units. Most of the trim was simple in nature, rectangular and without much detail work -- but there were a few pieces that required some assembly to give depth and shape. The intention was to create a labeling system for all of the trim before it went to paint so that it would be easily discernible. It was my hope that the trim could be cut and built by February 9th so that it could be painted over the weekend during the paint call that was scheduled for full work days on the 10th and 11th. I spoke with the paint charge and explained the labeling system and how it corresponded to the individual buildings.
The final week of build began February 12th and while there was a fair amount of work ahead the end goal was certainly in sight. The bulk of the work during this week was the detail work, those things that would help make the set look like a cohesive finished product. This detail work included the installation of windows, installation of all trim that could be done before transport, building capitals to adorn the tops of the buildings, build the frame for and stretch the rear projection screen material, building safety railings for the second levels of units, as well as building a cradle to house the projector safely. There was a sense of excitement in the air among the scene shop and staff. They had put a lot of work into the building process and knowing that it would be installed the following week added encouragement to 16 continue to power through. I had voiced my goal to the shop that by the afternoon of
Friday, February 16th, the bulk of the work would be done and that the crew could begin to disassemble the major scenic units for transport the following Monday. We met our goal head on when disassembly began at 3:00 PM that Friday. By 5:00 PM the set pieces first in line for installation were neatly packed together and awaited load out of the scene shop.
At this benchmark in the build process I was able to step back and take a moment to reflect on the sheer amount of hard work and effort the crew had put in -- but I also reflected on a significant personal goal that I was unable to meet during the build. It had been my intention to be able to assemble the set fully (sans sub-deck) on the Howell stage in order to understand how exactly the second level units were going to install together. I knew that there would be some amount of trouble- shooting involved with this process and I wanted to experience the process within the confines of our building in order to minimize any frustrations and to have a full assortment of tools available as needed. This degree of preparation was simply not feasible due to time and space constraints during the build process. It certainly did not indicate a large failure on my end, it just meant that the trouble-shooting process would have to happen in the Johnny Carson Studio during a very limited load-in schedule.
17
Chapter 4: Load In
For the process of transporting all technical elements of the production from the Temple Building to the Johnny Carson Studio at the Lied Center the School rented a twenty six foot box truck for the duration of February 18th to February 20th. In the entertainment world, this is a process called “load-in”, during which the crew moves all elements into the performance space and the installation can begin. Load-in officially began on February 18th with the electrics crew taking the first day to hang all of their lighting instruments and to begin focusing. This date also marked the time for the sound department to hang their speaker plot. The Johnny Carson Studio utilizes a motorized pipe grid that can be lowered via four cable drive winches. The intent was that electrics could manage the majority of their hang on Sunday so that the grid was only moved a total of one time, thus eliminating the number of times that they would have to refocus instruments if the system had to be lowered again.
I was in attendance for a portion of this day as there were a number of ANSI
(American National Standards Institute) Schedule 40 steel pipes that required installation to one end of the existing grid to accommodate the cyclorama and cyc lights, the scrim, border, legs and other drapes and curtains. I gave lighting the first couple hours of the day to begin their process before coming in with scene shop supervisor Nate Rose to hang the pipe for scenic needs. During a stop by the studio I noticed that there was a large projection screen hanging directly where the cyc was supposed to hang, taking up about one foot of required depth. Speaking with Lied production technician Jeff Koch I asked if it were possible to move the screen as it was 18 not indicated on any of the technical drawings of the space. Koch thought it was a possibility but it was a decision that required approval from his supervisor. I asked
Koch to keep me informed and began developing an alternative solution if it were not feasible to move the screen. Koch later informed me that the screen would not be movable. Rose and I proceeded with the alternate plan of moving the pipe that the cyc hung on downstage one foot. The area of production that this change would most affect was lighting if there was not sufficient room for their cyc lights to adequately illuminate the cyc. After speaking with house electrician Kathy Turner and assistant lighting designer Adam Jezl-Sikorski, they both thought the move would be negligible. Rose and I continued to hang the remainder of the necessary pipes for soft goods and scenic.
The scenic portion of the load in was scheduled for February 19th through the
21st, from 1:00 PM until 10:00 PM. These hours were extended beyond the typical workday of the scene shop in order to have sufficient time to accomplish the task at hand. The load-in schedule was particularly aggressive but optimistic. My hope was to finish scenic load-in quickly and allow lighting as much time as possible in the space to finish focusing and work on cueing. Due to the size of the design I determined that we would require at least three trips with the box truck in order to transport all scenery to the performance space before our truck rental expired on Tuesday the 20th. In order to accomplish the timely use of the truck, the order in which the crew packed the truck was of paramount concern to a successful load-in. Thus, the initial truck pack included the first scenic elements that needed installation for the process to move appropriately. This pack had four carts which contained components of the twenty 19 four foot by forty seven foot sub-deck, the ground row, the jacks for the ground row and the road box which contained all of the necessary tools for the scenic load-in.
The first items we needed to install were all of the soft goods: the cyc, scrim, border and legs. These had to go in first because once the ground row was installed the space they occupied would no longer be accessible. Once the soft goods were hung, Koch, Critel, D’Egnuff and myself set the trim height on the motorized grid. This process involved slight adjustments in height both up and down at six different points throughout the space. Once the grid was set to its final trim height, the installation of scenic elements could begin.
The sub-deck was the first and most obvious unit requiring installation, because all of the other scenic units sat atop it. This process began a bit slowly but it was important to get this component correct so that all of the other pieces in the process would be able to be installed in their intended positions. While the sub-deck was in process, I began spiking positions for the ground row and its support jacks for installation. Crews were concurrently loading the second truck pack at the Temple
Building, with the first floor façades of all of the units, the masking unit for the projection screen and all of the platforms and legs. While I installed the ground row, the crew unloaded the second truck pack; meantime we installed the stage left unit with its second level platform. Once the ground row was completed, my attention turned to getting the center stage and stage right first floor façades installed followed by their first and second level platforms.
Day two of load in began with the third and final truck pack. The second level façades of the stage right and center stage units we had purposely left behind to allow 20 paint time to finish detail work as well as electrics time to finish running cables for the light emitting diode (LED) tape. In addition to the second levels, the ships ladders, fire escape, safety handrails, stair units, flower boxes, awning and projection screen were loaded. Once the truck arrived at the performance space it was quickly unpacked and work began installing the ships ladders to the stage left and center stage units while the stage right second level façade was installed. During this period I added rigging points to the grid of the studio to create hanging positions for the projection screen and projector itself.
Following the completion of those elements the crew turned its attention to installing the ships ladder on the stage right unit while adding the safety handrails to all second levels. The safety handrails served a double purpose for the production.
First and foremost they were there to keep the actors on the second levels safe from falling to the stage floor from a height of nearly ten feet. Their second purpose was to provide the basic structure for black masking fabric, to prevent the audience from seeing beyond the interior of the units when doors and windows were opened. The addition of this masking was added rather late in the process and though I would hesitate to call it an afterthought, in all reality an afterthought is it was. My solution involved running cordage between vertical sticks of steel that were incorporated into the safety handrail. Once the cordage was hung I draped black duvetyn (or
“commando cloth”, depending on which coast you live on) and safety pinned it around the line. While I feel there could have been a more intentional masking device, this fit the need of the production. 21
At the end of the third day of load-in we had installed all of the major scenic elements without any major challenges. At that juncture, the scenic crew could not return to the performance space for additional work until Friday, February 23rd to allow lighting maximum time in the space to fine focus instruments and complete cue work.
However, Dylan Spilinek and I spent a few hours in the space on Thursday, February
22nd running cables for the projector as well as the video feeds of the conductor for the cast and stage management and of the stage feed for the conductor.
Friday, February 23rd was the last working day before having cast on stage later that evening. It was in the best interests of the production as a whole that some of the smaller detail elements be in place so that the cast could begin working with them and the set in order to become as comfortable as possible. The crew installed flower boxes, tagged all masking curtains with white ribbon so that the cast understood entrances and exits, they hung the last two masking legs, and they striped the set as a whole with white gaff tape to avoid any instance in which someone could be caught off guard while moving in the dark. The remaining trim that we could not install before transport we now expedited during this time. Though some finishing details remained uninstalled at this point, I was content with the state of the set heading into technical rehearsals.
22
Chapter 5: Technical Rehearsals
The technical rehearsal schedule did not officially begin until February 24th, but on the evening of the 23rd there was a blocking rehearsal which gave the cast their first opportunity to be on the set. The rehearsal also provided the director necessary time to understand how his blocking for the show would work on an actualized set. The cast had up to this point only used the taped-out two dimensional rendition in the
Temple Building rehearsal rooms. I have always made it a point to welcome the cast to their set for the first time and this show was no exception. This house warming on my part is rooted in a concern for safety, making sure that the cast understands how the set will interact with them and how they can safely utilize all components. There is also a part of me that truly enjoys seeing the excitement and exploratory nature of a cast when first allowed to traverse their new world.
I prefer to have the cast work through the space in quarter speed, then half and eventually work their way up to full speed so that they can create a sense of accustomed comfort before having to run the show with full energy. This particular design gave me two moments of inherent trepidation: the ships ladders and the fire escape. Whether actors are comfortable at heights or not, getting familiarized with traversing ships ladders can be tricky at first, due to the steep angle and a general sense of unacquainted novelty. I asked that anyone who had scenes blocked on the second levels of units slowly ascend and descend the ladders until they were confident in their footing. It was during this time that I discovered that the actor playing Gary Coleman, Karen Richards, was severely afraid of heights. 23
Unfortunately for Ms. Richards, almost all her entrances and exits utilized the second floor fire escape and the on stage straight ladder to the ground. I assured
Richards that we would spend as much time as needed in order to make her comfortable traversing the offstage ships ladder as well as becoming confident and comfortable being on the fire escape and using the straight ladder. While I know there is no way to force overcoming a fear of heights, I have also helped many students and cast members become more comfortable working at elevations. I can only begin to imagine how difficult it is to be at an uncomfortable acclivity while trying to maintain character. She and I spent around twenty minutes on the fire escape itself, practicing breathing techniques as well as proper climbing techniques until she felt completely safe on the set. Once Ms. Richards had confidence with the heights she was working from, the blocking rehearsal continued. Throughout the course of the rehearsal I took scenic notes on things that needed to be address during the following week, but I specifically paid close attention to her work on the ladders and by the end of the evening she was climbing up and down without hesitation.
Technical rehearsals commenced on February 24th and 25th with ten hour workdays over a twelve hour call. These lengthy technical rehearsals are the first opportunity for the technical staff and stage management to begin putting the show together in working order. This production was certainly not lacking in technical aspects that needed fine-tuning within the show. Not only was it the first attempt at incorporating sound effects and lighting cues, we were also working with two spot light operators, projections, costumes, haze and fog, a live audio engineer and a backstage run crew for transitions. While some dread the monotony of technical 24 rehearsals, I find they are the opportunity for the true choreography of the production to find its home. Clunky or otherwise poorly planned transitions and miscalled cues can easily take the audience out of their willful suspension of disbelief.
Through the two days of rehearsal, I primarily took notes on elements of the production that required aesthetically finished touches or on pieces that were not working as they should. There were a few transitions that I was happy to assist the cast and crew in attempts to make them as succinct as possible. The first major transition that needed help was the shift into the “Around the Clock Café” scene. During a production meeting a month prior there was a directorial ask that an actor be able to tap dance at the top of this scene. The wear and tear from tap shoes posed a threat to both the paint treatment on the sub-deck as well as the sub-deck itself. Being in a roadhouse, paint touch-ups are approved on a very limited basis. And with the Carson
School’s intention to continue to produce theatre in the Johnny Carson Studio, the sub-deck would endure continued use for years to come. It was my suggestion that in order accommodate the tap dancing and preserve the floor below it, a piece of high density fiberboard (HDF) be brought on for the actor to use. This arrangement met with directorial agreement, but during the first attempt at transitioning into this scene the result was anything but graceful. A second attempt was slightly better, but still less than optimal. At this point we discussed cutting the piece of HDF to size so that it could fit beneath a scenic element and simply fold down for the scene and fold back up following. A couple more attempts with the modified approach and the transition was able to take proper shape. 25
Another such transition that needed some nuance was the shift into the wedding scene. For this look, the scenic designer wanted festive lanterns hung about the second levels of both the stage right and center stage units. Again, the first attempt lacked grace. A few modifications to where and how the lanterns were hung and where they were stored directly before the transition helped immensely. Though the onstage picture was not drastically different with the lanterns than the stock set, it was a nice and simple addition to give the scene its own look.
With the cast having an Equity day off of rehearsal on February 26th, various production departments were able to gain uninhibited access the space, allowing us to address the bevy of notes that came from the weekend’s rehearsals. February 27th served as first dress as well as the production’s first rehearsal with the six piece live band. Going into this rehearsal I knew the addition of the band could become a potential pinch point. The space allotted to the pit band was rather tight, especially when none of the instruments are particularly small. They included an acoustic piano, electric keyboard, a drum set with auxiliary percussion, an electric guitar and bass and a woodwind player who played multiple instruments throughout. Another possible predicament I foresaw arose from not allowing the live audio engineer (A1) sufficient time to set microphones on instruments and then dial them in through the sound system. Having been a touring musician and live engineer, I offered Araceli Ramirez
(A1) whatever help I could, telling her I was not there to do her job but merely to help in any capacity she needed. My contribution to getting the band situated came from playing a human and instrument version of Tetris, trying different instruments and 26 amplifiers in different locations until everyone had enough room to be comfortable and to successfully perform their parts.
With the band set, technical rehearsals continued as the production team tweaked and fine-tuned various aspects of the show. I spent the majority of the rehearsal moving about the seating units looking for unfinished details from all vantage points of the eventual audience members. These notes would be finished during the following daytime hours leading up to the final dress rehearsal on February
28th, one that included an invited audience of theatre majors. The positive response of the invited audience proved to be a nice reaffirmation to the cast and crew that the long hours spent leading up to opening of the show were well worth the efforts and energy put forth.
27
Chapter 6: Performances
Avenue Q officially opened on Friday, March 2, 2018 to a sold out crowd. The production was performed a total of fifteen times and closed on Friday, March 16,
2018. During the run of performances there was only one technical problem that required my attention: the non-slip grip tape installed on the ships ladders was peeling off a couple rungs. I replaced the pieces that were peeling and reinforced all of the remaining rungs to ensure no future problems. None occurred.
28
Chapter 7: Strike
Following the conclusion of the final performance on Friday, March 16th the crew uninstalled and removed the entire production from the Johnny Carson Studio
Theatre. This process has traditionally earned the sobriquet “strike”. To prepare for this strike, I scheduled a meeting amongst departmental heads so that everyone could have an opportunity to voice specific needs and to discuss what each department required of the others, as well as to ensure that everyone was well aware of the schedule moving into strike. Leading up to this meeting I formulated a strike plan that encompassed not only the scenic elements but also projections and video as well as the components of the performance space that required a reset, including seats and risers and getting the pipe grid back to its standard setup. In addition to communicating with each department I also discussed the logistics with our Lied
Center contact, Jeff Koch. Koch and I discussed how to navigate the loading dock between our strike and the concurrent load-out of the Three Tenors which had been performing on the Lied Center’s main stage. We determined that the roll-off dumpster for the Avenue Q strike would be dropped off in bay two of the loading dock earlier in the day on Friday, and once the Three Tenors load-out was complete we could move the rented box truck into bay one.
The crew for strike consisted of eleven graduate students, twenty seven undergraduate design and technology majors, five undergraduate cast members and two departmental staff members, all split into areas of focus to complete the task at hand as swiftly as possible. My initial estimation led me to believe that strike would 29 require around four hours to complete. Strike began at approximately 10:00 PM once the audience had vacated the house completely. A portion of the crew assigned to scenic began working on the seating units, collapsing them and moving them out of the way as much as possible. At the same time another portion of the crew set to work on the stage right unit so as to allow an unobstructed path to the loading dock. The center stage and stage left units followed, dismantling the ground row and sub-deck last. Of the scenic elements used in the production, I indicated to the crew that we would keep the doors pulled from stock, the projection screen and we would retain all steel for repurposing and recycling. The jacks that supported the ground row we likewise kept to reuse on the following Carson School production.
While I was primarily focused on the removal of scenic elements, I floated throughout the night to check in with other departments to ensure that they were on track and had sufficient help. Once the final sub-deck pieces were loaded onto carts and onto the box truck the first trip was made to unload at the Temple Building while all other hands turned to help electrics strike their lighting instruments. The truck returned to the Lied Center shortly following the completion of the lighting strike. The racks and carts housing lighting’s equipment were loaded on the truck and the entirety of the strike crew headed back to Temple to unload. I dismissed the strike crew at 2:15 AM, fifteen minutes beyond my estimation but content that it was completed and that there had been no injuries or major dilemmas throughout what can sometimes be a rather hectic process.
30
Chapter 8: Budgeting
This production of Avenue Q had a working scenic budget of $3,500.00. That amount was to include all materials necessary for the build and construction of the set as well as an internal ten percent paint budget of $350.00. Any standard consumable fasteners were supplied from the scene shop overhead budget but specialty fasteners and adhesives were to be included in the production budget. As discussed in chapter two, a number of revisions and cost analyses were required to get to a point where we could safely proceed without concern for either running out of the allotted budget nor running over. In order to maintain this budget I kept a constant running total through receipt tracking so that I knew where the budget stood at every turn. Though I was diligent in the cost analysis process, there were some unanticipated expenses that ate into the contingency factor I carried on the show. The cost of purchasing duvetyn for interior masking at $259.37 was one of those unexpected expenses, but thankfully the budgeted contingency factor covered it. The budget summary for the show revealed that the production spent $3,301.43 of the total budget, leaving $198.57 to spare.
31
Chapter 9: Conclusion
The production of Avenue Q by the Johnny Carson School of Theatre and Film at the University of Nebraska provided what I would consider to be an excellent opportunity for a Master of Fine Arts level technical direction thesis production.
Though this served as my fifth production as technical director within the department, the show offered several challenges and moments of learning throughout the process.
I was able to utilize skills previously developed as well as new techniques in order to make the show as successful as possible. I am thankful for the trust and support of the faculty in allowing me to serve in the role of technical director on this scale of production without concern that the job would not be completed. At the same time, having an open door to discuss any challenges provided a reassurance that I would be able to complete the task at hand. I am also thankful for the willingness and open- minded nature of director Andy Park in allowing the scenic designer to explore unique ideas in the design process, ultimately creating what I would consider to be a beautiful set that worked well for the show, as well as kept me on my toes.
As with most, this production proved to provide some learning opportunities, however, there was much to take pride in from the finished product. I gained valuable knowledge regarding the technical aspects of projections and that is a component of live theatre that will not be going away anytime soon. I also gained more experience in managing larger labor forces and doing so without becoming frustrated nor overwhelmed. The short amount of time for engineering forced my focus to be tightened and output speed increased. Engineering and building a set that could 32 effectively be transported through an undersized freight elevator or down a flight of steps and out a door provided many chances for me to catch myself before creating something that could not fit out of the building.
Overall, I would say that both the production as a whole and my thesis project were a resounding success. I was able to continue the educational path of the terminal degree in my field while at the same time strengthening the skill set with which I entered the program. I feel that the knowledge I have gained over my time spent at the University of Nebraska will continue to serve me well as I continue on into the professional working world.
33
Appendix A: Designer Reference Materials
7'-6" 1/8" 5/8" 5'-6 subdeck perimeter 5'-7 masking leg leg 6'8" 4'-7" 4'8" 3'4" 4'0" 1'4" 2'8" 6'0" 5'4" 0'8" 2'0" 0'0" +113" +0" M 13 black masking; both levels
F +8" 4'-8 1/4" 4 lighting/sound platform
black END masking;
STAGE both levels SEATING B B 2 6'0" 2 C C
2 RISER 2
+0" for 201
2'-7 1/2"
L 13
musicains below awning platforms 0'0"
guitar H platform for 8 projector wind bass +87" keyboard
aux. scrim percussion drums 18 18 18 18 18 18 18 18 18 18 +0" keyboard 20 projection surface border cyc
1/8" masking leg leg 1/8" 6'-2 4'-11" 5'-5
Ground Plan 1 Scale: 1/4" = 1'-0"
DISCLAIMER General Notes Scenic Designer PLATE Insert Disclaimer Place Notes here Avenue Q Jesse Thompson 480 - 433 - 9301 [email protected] Carson Theatre CREATIVE TEAM Director: Andy Park 1 Ground Plan Lighting Designer: Laurel Shoemaker Costume Designer: Jamie Bullins OF: 18 Date: 2/5/18 Scale: 1/4"=1'-0" Props Designer: Jill Hibbard
Scenic Designer Ground Plan
Composite Elevation View E Scale: 1/4" = 1'-0"
Set Isometric View D Scale: 1/4" = 1'-0"
DISCLAIMER General Notes Scenic Designer PLATE Insert Disclaimer Place Notes here Avenue Q Jesse Thompson 480 - 433 - 9301 [email protected] Carson Theatre CREATIVE TEAM Director: Andy Park 3 Isometric & Elevation Views Lighting Designer: Laurel Shoemaker Costume Designer: Jamie Bullins OF: 18 Date: 2/5/18 Scale: 1/4"=1'-0" Props Designer: Jill Hibbard
Scenic Designer Front Elevation and Isometric Views 34
Scenic Designer Final Rendering
Scenic Designer Final Rendering – Wedding Scene
35
Scenic Designer Initial Rendering
Scenic Designer Revised Rendering 36
Appendix B: Technical Drafting do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not 8'-0" of 3 1/2" not drafting Brendan to attempt prior qualified
use 1/4" contained contained .
to must is any to
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General Scab All Lauan Framing 2x scrap on skinned Notes: is face 2x4 material is , glue oriented on & screw bottom at OPEN front of of SL3 wall Stage Stage to for keep Left Left sheet (Front (Top door 12'-0" 12'-0" Unit Unit View) View) catch Composite Composite opening true Date: 2/1/2018 OPEN VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
8'-0"
7'-9" Johnny 3'-10 1/4" SL1 Carson Build Avenue (Front Stage (Top One 1'-7 1'-4 1'-7 View) SL1 Studio View) 1/2" 1/2" 1/2" Left Unit - Q Lied Center
8'-0"
7'-9"
5'-10 1/2" 1'-10 1/2" 1'-10 1/2" 1'-8 3/4" SL2 Scale: Build (Front (Top One OPEN 1'-8" View) 5'-3" 5'-0" 5'-3" SL2 View) 1" = 1'
1'-8 3/4" Li Scenic Drawn Director: ghting By: Designer: Designer: A J BGW L . . . Thompson Park Shoemaker 8'-0"
7'-9"
6'-6 1/4" 402 3'-10 1/4" Brendan .658 .6210 1'-0 9 1/2" 1/2" Technical Greene-Walsh brendan 2'-4" Director .gwalsh@gmail SL3(Front Build 1'-2 3/4" 2'-8 (Top OPEN One 5'-1 5'-1 View) 1/2" SL3 View) 1/2" 1/2" .com Sheet 1'-4 1'-1 1/2" 1/2" 1 of 30
37 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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General Flush 1 Glued Sheet 1/2” cut strips good & Notes: stapled door layout on opening SL2 requires are on added SL3 4 sheets pieces
4'-0" 4'-0" SL1 Sheet (Front 1'-7 Layout 1/2" View) Date: 2/1/2018
VECTORWORKS EDUCATIONAL VERSION 2'-1 1/2" 3'-9" 2'-1 1/2" VECTORWORKS EDUCATIONAL VERSION 1 1/2" SL2 Sheet (Front OPEN 5'-3" Layout Johnny View) Carson Avenue Stage Studio Left Unit - Q Lied Center
4'-0" 4'-0" Scale: 1" = 1'
SL3 Sheet OPEN (Front 5'-1 Layout 1/2" View) Li Scenic Drawn Director: ghting By: Designer: Designer: A J L BGW . . . Thompson Park Shoemaker 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail .com Sheet 2 of 30
38 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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8'-6" (Side Awning 8'-0 3/4" View Structure General Unit Glue - Covered Awning w/
to 8'-0" Wall) be is , screw screwed covered structure Notes: in lightweight and/or 1'-0" into aftering is 1 9/16" staple made top muslin of mus of SL 3/4”
is 1'-6 3/4" Unit painted CDX
1'-6 3/4" 1'-6" 1'-0" 3/4"3" Date: 1'-11 1'-11 5/8" 5/8" 2/1/2018 3'-11 5/8" 5'-11 2'-0" 5/8" VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION 7'-11 8'-0" 8'-0" 1/4" (Top Awning Awning (Front 9'-11 View 10'-0" 10'-0" 12'-0" 2'-0" Structure Structure 1/4" View) w/ Wall) Johnny 1'-11 Carson 5/8" Avenue Stage Left Studio Unit 3/4" Awning - Q Lied 1'-11 Center 2'-0" 2'-0" 1/4"
3/4" 6" Scale: 1" = 1'
Li Scenic Drawn Director: ghting 7 3/16" By: Designer: Designer: 5 11/16" 6" 1 1/4" 3/4" A J L BGW 1 1/2" . . . Thompson Park Shoemaker 11 5/8"
402 Awning Awning Scale: Awning (Boxed 1'-7 Build Build Brendan (Side .658 1'-8 1/2"
3" 1 Supports Supports Seven Seven
3/4" View) 1/2" View) .6210 = detail 1'-0" 1'-0" Technical Greene-Walsh brendan 1 1/2"
Director 3/4" .gwalsh@gmail 1 9/16"
1'-6"
1'-6 3/4" .com 6 3/16" Sheet 3 of 30
39 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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to 2'-8" 3 1/2" must is any to
the to
1'-11 1/4" General Handrail Treads Ladder Glue Platform & screw are is Notes: is is (Top Stage (Side Stage 1”x2” 1” 2x4 flush view) SST view)
Left Left 7'-3" construction 16 5'-4" 5'-1" 5'-4" to Platform Platform ga welded 2'-0" front steel edge to welded w/ upstage of 3/4” ladder lid side of ladder 5'-4"
2'-8" (Side Stage view) Left Platform 8'-6 Date: 3/16" and Ladder 2/1/2018 (Sheet Stage Left Layout) 5'-4" Platform VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION Johnny Stage Carson Left Avenue Unit US Studio platform - Q Lied & ladder Center
7'-9 5/8" Stage (Side/Downstage Stage (Top Left 3'-4 3'-4 view) Left Ladder 9/16" 9/16" Ladder view) Scale:
22º
LP-SQ
8'-5 5/16" 1" =
1' 1'-0" 1'-0" 2'-6"
TYP TYP 2'-8"
2'-9" Li Scenic Drawn Director: ghting By: Designer: Designer: A J L BGW .
. 2'-10 . Thompson Park Shoemaker 7/16"
2'-8
402 1'-2" 15/16" 5'-6
7/8" 1'-1" Brendan .658 (Upstage Stage .6210 Left view) Ladder Technical 2'-7" Greene-Walsh brendan Handrail Director .gwalsh@gmail .com Sheet 4 of 30
40 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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5'-11" General Interior Skins Angled CS1 All Skin Construction 5'-9 1/2" CS1 1x
is is 2'-0" are on 1st lauan skins edge Notes:
face OC - TYP beveled CS2 level is needs are , glued are 1x4 , CS1b screwed- flush to (Front 2'-2 (Top , 2'-4 2'-4 1x & glued match SQ-LP CS1b CS1 stapled 11/16" is beveled 3/16" 3/16" View) to View) 2nd
front 22 &
NO .5º stapled level GLUE of to wall match
5'-11" CS3 Exterior Date: 2'-2 2'-4 2'-4 SQ-LP SQ-LP SQ-LP Sheet CS1b 3/4" 5/16" 5/16" 2/1/2018 Layout VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
5'-11" Interior CS4 2'-2 Sheet SQ-LP CS1b 3/4"
Layout 22 .5º Johnny Carson Avenue CS5 Center Studio Stage unit - Q Lied Center
10'-1"
9'-11 1/2"
2'-0" OC - TYP (Front 2'-2 2'-4 Scale: CS1 11/16" 3/16" View) 1" = 1'
Li Scenic Drawn Director: ghting By: Designer:
Designer: 8'-0" 2'-1" Exterior A J L BGW . . . Thompson 2'-4 Park Shoemaker SQ-LP Sheet CS1 5/16" Layout 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director
.gwalsh@gmail 8'-0" 2'-1" Interior 2'-2 .com Sheet SQ-LP CS1 3/4" Layout Sheet 5 of 30
41 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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General Interior Skins Angled CS2 All Skin Construction 1x 5'-11" CS1 is is are on 1st lauan skins edge Notes: face
beveled 5'-9 1/2" level CS2 is needs are , glued are 2'-0" 1x4 , CS2b screwed-
flush OC - TYP to , 1x & glued match stapled is beveled to 2nd (Front front (Top 1'-10 & 2'-0 NO 2'-0 LP-LP CS2b stapled CS2 level View) 1/8" 1/8" View) 5/8" GLUE of
to 22 .5º wall match
5'-11" CS3 Date: Exterior 2'-0 2'-0 1'-9 LP-LP LP-LP LP-LP Sheet CS2b 5/16" 5/16" 3/16" 2/1/2018 Layout VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
5'-11" Interior CS4 1'-9 Sheet LP-LP CS2b
3/16" 22 .5º Layout Johnny Carson Avenue Center CS5 Studio Stage Unit - Q Lied Center
10'-1"
9'-11 1/2"
2'-0" OC - TYP (Front 1'-10 2'-0 CS2 1/8" View) 5/8" Scale: 1" = 1'
8'-0" 2'-1" Li Scenic Drawn Director: ghting Exterior By: Designer: Designer: 2'-0 LP-LP Sheet CS2 5/16" Layout A J L BGW . . . Thompson Park Shoemaker 402 Brendan .658 .6210
8'-0" 2'-1" Technical Greene-Walsh brendan Interior Director 1'-9 Sheet .gwalsh@gmail LP-LP CS2 3/16" Layout .com Sheet 6 of 30
42 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of 5'-11" not drafting Brendan to attempt prior qualified use contained 5'-9 1/2" contained .
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to 1'-11 5/8" 2'-0"
the to
1'-5
3/4" 22 .5º General Flush Skins Angled CS3 All Skin Construction 1x is is cut are on 1st lauan edge Notes: face openings beveled 3'-0" 1'-2" level 1'-5 is needs , glued 5/8" are 1x4 , CS3b (Front (Top flush to SQ-LP
CS3b 1'-6" , 1x & 6'-0" 6'-0" glued CS3 OPEN match 3'-0" 3'-0" View) View) stapled is beveled to 2nd 8 front 5/8" & stapled level of to wall match 4 3/4" 1'-3 1/4"
10'-1" Date: 9'-11 1/2"
7'-10 3/4"
2/1/2018 5'-11 5/8"
3'-11 5/8"
1'-11 5/8" 8 11/16" 1'-1 1/4" VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION 2'-2 7/16" OPEN 3'-4 3'-4 3'-8 2'-4 15/16" 4'-2" 1/8" 1/8" 15/16" 4'-10" 5'-2 11/16" (Front 5'-11 CS3 6'-0" 3'-8" 6'-0" OPEN 1/4" View) 3'-6 1/2"
1 3/4" Johnny 1'-6 OPEN 1'-5" Carson 1/2" Avenue Center Studio Stage
1'-0 13/16" Unit - Q Lied Center 8'-9 15/16"
5'-11" CS1 CS2 3'-11 3'-11 SQ-LP 3/4" 3/4" Exterior Scale: (Top Sheet CS3b CS3 OPEN View) Layout 1" = 1'
2'-0 2'-0 Li Scenic Drawn Director: 3/8" 3/8" ghting By: Designer: Designer: CS3 A J L BGW . . . Thompson Park Shoemaker 8'-0" 2'-1" 402 Brendan 2'-0 SQ-LP .658 1/8" .6210 OPEN Technical Greene-Walsh brendan Exterior Director .gwalsh@gmail 6'-0 SQ-LP Sheet CS3 1/8" OPEN Layout CS4 4'-0" .com OPEN Sheet CS5 7
8'-0" 2'-1" of 30
43 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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CS1 CS2 General Flush CS4 All Skin Construction 1x is is cut on 1st lauan Notes: face openings level is , glued are 1x4 , CS4b
flush 5'-11" , & glued stapled
is 5'-9 1/2" to 2nd front & 4'-7 1/2" stapled level
of 1'-6 3/4" wall
3'-0" 1'-6 3/8"
1'-6" 1'-2" OPEN 3'-0" 3'-0" CS3 (Front (Top CS4b 4'-0" 4'-0" CS4 View) View) Date: 9 3/4" 2/1/2018
1'-11 5/8"
3'-11 5/8"
VECTORWORKS EDUCATIONAL VERSION 10'-1" VECTORWORKS EDUCATIONAL VERSION
9'-11 1/2"
7'-10 3/4" CS4
5'-11 5/8"
3'-11 5/8"
1'-11 5/8" 3 3/4" 3" CS5 1'-9 Johnny
1'-1 3/4" 1'-3 1/8" 6'-7 1/2" 7/8" Carson 3'-1" Avenue 2'-9 (Front Center 3'-11 OPEN 1/4" 4'-0" CS4 1/4" View) Studio Stage 1'-3 1/8" Unit - Q Lied Center 8 3/4"
5'-11" Scale: Exterior OPEN 1" = 1' (Top Sheet CS4b
4'-0" 4'-0" CS4 View) Layout Li Scenic Drawn Director: ghting By: Designer: Designer:
3 3/4" 3 A J L BGW 3/4" . . . Thompson Park Shoemaker
8'-0" 2'-1" 402 Brendan .658 .6210 Technical Greene-Walsh brendan Exterior Director .gwalsh@gmail Sheet OPEN 4'-0" CS4 Layout .com Sheet 3 3/4" 8 of 30
44 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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contained 5'-11" contained .
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any 5'-9 1/2" to
the to
2'-0" OC - TYP CS1 General Interior CS5 All Skin Construction CS2 1x is is on 1st lauan skins Notes: (Front face 3'-5 3'-4 3'-5 level CS5b is 3/4" 1/4" 3/4" are , View) glued are 1x4 , CS5b screwed- flush , & glued stapled is to 2nd front & NO stapled level GLUE of wall
5'-11" CS3 Exterior Date: 3'-5 3'-5 Sheet CS5b 3/4" 3/4" Layout 2/1/2018 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
5'-11" CS4 Interior Sheet 3'-5 CS5b 3/4" Layout Johnny CS5 Carson Avenue Center Studio Stage Unit - Q Lied Center
10'-1"
9'-11 1/2"
2'-0" OC - TYP (Front 3'-5 3'-4 CS5 Scale: 3/4" 1/4" View) 1" = 1'
Li Scenic
Drawn 8'-0" 2'-1" Director: ghting By: Designer: Designer: Exterior A J L BGW . . . Thompson 3'-5 Park Shoemaker Sheet CS5 3/4" Layout 402 Brendan .658 .6210 Technical Greene-Walsh brendan 8'-0" 2'-1" Director .gwalsh@gmail Interior Sheet .com CS5 3'-5 3/4" Layout Sheet 9 of 30
45 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
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the SQ - LP 3/4" to LP
-
1'-9
LP
3/8" 45
.00° 2'-9 2'-9 General Legs Lid Construction 1st 2'-9 1/2" 3/4" 3/4" on &
must SQ - LP
2nd 22 1'-6
1st .5º Notes: 5/8" level floor be is removable is platforms 2x4 MDF , glued , 2nd for & is transport screwed CDX Center Center Center Center (Sheet Stage Stage Stage Stage (Legged (Framing (Side 10'-6 10'-9 10'-9 10'-9 Layout 1st 1st 1st 1st View) 3/4" 3/4" Height) 3/4" 3/4" Level Level Level Level View) 9'-5 SQ View) - 1/8" Platform Platform Platform Platform LP 8'-0" 8'-0" Date: 2/1/2018
3'-2 3/4" OC 2'-0" - TYP VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
3'-5 3/4" 3'-5 3/4" Johnny
1'-8 7/8" 3 1/2" 1'-8 7/8" Carson Avenue SQ - LP 3/4" Center 1'-9 22 3/8" Studio LP Stage .5º - LP Unit - Q Lied
Center
22 .5º Center Center Center (Sheet Stage Stage Stage (Framing (Side 5'-10 6'-1 6'-1 6'-1 Layout 2nd 2nd 2nd View) 1/4" 1/4" 1/4" 1/4" Level Level Level View) 4'-8 SQ 4'-10 View) - 5/8" Platform Platform Platform LP 1/8"
2'-9" OC 2'-0" - TYP Scale:
3'-0"
1" 3'-0" = 1'
Li
Scenic 3 1/2" Drawn Director: ghting 3/4" By: Designer: Designer: A J L BGW . . . Thompson Park Shoemaker 402 Center Center Center Brendan .658 (Sheet Stage Stage Stage .6210 (Framing (Side 7'-9 7'-9 7'-6 7'-9 Layout 2nd 2nd 2nd View) 3/4" 3/4" 3/4" 3/4" Technical Level Level Level View) Greene-Walsh brendan View) Platform Platform Platform Director .gwalsh@gmail .com 3'-2 3/4" OC 2'-0" - Sheet TYP 10
3'-5 3/4" 3'-5 3/4" of 30
46 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
11'-10 3/4" the to
General SR CS Handrail Treads Ladder Unit Unit are CS construction Notes: handrail handrail is (Top 4'-11 Unit 1” 1”x2” CS View) 9/16" SST Ladder (Side 4'-11 Unit SQ is is steel welded - 9/16" View) on on Ladder LP is
both upstage
welded 1”x2”
SQ
- LP sides 12'-10" steel side welded
22 .0º
2'-5 1/2"
1'-0" 2'-7 1/2" TYP
Date: 11'-10 3/4"
3'-4 1/2" 2/1/2018
1'-0" 3'-1 11" 5/8" 6'-3 3/4" 9'-6 5/16"
VECTORWORKS EDUCATIONAL VERSION 3'-3 VECTORWORKS EDUCATIONAL VERSION 5/8" CS (Upstage Unit 4'-11 Ladder 9/16" Side Handrail View) Center Johnny Stage Carson Avenue and Stage Studio Right - Q Lied escape Center ladders
10'-5" 2'-7 1/2"
2'-5 1/2" 1'-0" TYP
22º 11'-2 13/16"
SR SQ SR Scale: - LP Unit Unit (Side Backstage Backstage (Top 4'-4 4'-4 View) View) 3/8" 3/8" 1" = Ladder Ladder 1'
Li Scenic Drawn Director: ghting By: Designer: Designer: A J L BGW . . . Thompson Park Shoemaker 402
Brendan 2'-9
.658 3/8" .6210
2'-9 8'-5
Technical 5/16" 7/16" 1'-2 5'-7 Greene-Walsh brendan 1/8" 8'-4
7/16" 1/2" Director .gwalsh@gmail SR Unit (Side Backstage Handrail 4'-4 View) 3/8" .com Ladder Sheet 11 of 30
47 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
3'-0" 4 1/4" 3'-0" 8" 2'-9" 3 1/2" General SR Glue Construction 2a & & screw Notes: SR 2'-1 2b is 1/4" 2x4 bolt w/ together 3/4” 4'-3 1/4" MDF SR SR SR SR on (Legged Lower Lower Lower Lower (Framing (Sheet angled lid (Side on Level Level Level Level Side Layout) 6'-6" 6'-6" 6'-3" 6'-6" View) 1st edge View) Platform Platform Platform Platform View) level , CDX on 2nd Date: 2/1/2018 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
3'-0" 4 1/4" 3'-0" 2'-9" 3 1/2" 1'-11 Johnny Stage 1/4" Right Carson Avenue 3'-11 Unit 4'-5 1/4" 4'-3 1st SQ Studio 1/4" - 3/4" & SR (Framing SR SR (Sheet LP 2nd (Side 5'-5 5'-8 5'-8 5'-8 2a 2a 2a SQ - level Platform Platform Platform 1/16" Q 3/16" 3/16" 3/16" - Layout) Lied View) LP View) platforms
Center 34º
22
.5º
LP
- LP
3'-2 15/16" Scale: 1" =
1' 4 1/4"
3 1/2" 3'-2 15/16"
LP -
Li
Scenic
Drawn 22 LP Director:
67
ghting .5º .5º By: Designer: Designer: 1'-5 15/16" 34º SQ - LP A J L BGW . . . Thompson Park Shoemaker SR SR (Framing (Sheet 6'-8 6'-8 6'-8 6'-5 SR 2b 2b SQ (Side 2b 15/16" 15/16" 15/16" 13/16" Platform Platform Layout) - 402 LP 5'-11 Platform View) View) Brendan 5'-4 SQ .658 1/4" 5'-6" - 1/2" LP .6210 3'-11 Technical 1/4" Greene-Walsh brendan Director 1'-11 .gwalsh@gmail 1/4"
.com 2'-9" 3'-0"
Sheet 3'-0" 12 of 30
48 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the SR SR to
Unit Unit
(Side (Top 2nd 2nd 2'-7 2'-7 View) Level Level View) 1/4" 1/4"
1'-0"
Ladder SQ Ladder
General
Gate Fire Fire Escape Ladders -
TYP LP
22º 6'-6 escape escape 7/16" is hinged ladder Notes: are skin is 1”x2” 2'-0" 1x2 rungs to is
swing 6'-0 3/4" steel & 3/4” 2'-2" 1” are SST MDF welded USR 1 1/4” welded round
9'-5"
1'-0" TYP SR SR Unit Unit (Front (Front 1st 1st 2'-5 2'-3 2'-5 2'-3 Level Level 1/2" 1/2" 1/2" 1/2" View) View) Ladder Ladder Date: 2/1/2018
9'-5" SR Unit 1'-0" (Front 1st TYP Level 2" View) VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION Ladder
2'-6" SQ - LP 2'-6" 2'-5" 2'-4" 3/4" Johnny Stage 1'-7 Carson Avenue 1/2" Right Studio Unit Fire Fire Escape components Escape Fire Fire - Q Lied Sheet Escape Escape (Front (Top (Top Platform LP Platform 5'-6" 5'-4" 5'-6" 1'-9" 5'-4" Center - View) View) Layout View) LP Platform Platform and Framing Handrail 1'-7 1/2" Scale:
2'-6 3/4" 2'-8 3/4" 2'-8 3/4" 1"
= 2'-5 3/4" 2'-5 3/4" 1' 4 1/2" 2'-5 3/4" Fire 5 1/2" Escape (Front Li 5 Scenic Drawn Director: 2'-6" 1/2" ghting SR View) By: Designer: 3'-1 Handrail Designer: 5 1/2" Fire 1/2" Fire Escape Escape 5" (Front (Front Platform DS A J L BGW 5'-6" . . . Thompson Park Shoemaker Handrail View) View) and Handrail & Gate 402
2'-8 3/4" 2'-2" Brendan .658 2'-5 3/4" .6210 4" Technical Fire Greene-Walsh brendan 5 1/2" Escape
(Front 2'-3 1/2" Director 5 2'-6" 1/2" .gwalsh@gmail View) SL 2" 2'-5 1/2" Handrail 5 1/2" 2'-3 1/2" 2"
Fire 4 LP
1/2"
-
5" LP
Escape 3'-5" (Top Fire .com 2'-3 SQ Fire Fire 45 2'-6"
5 .00° Escape BUILD (Front View) 9/16" (Side - 1/2" (Top Escape Escape LP Support 2'-2" 2'-2" Sheet View) View) View) TWO 5 Support 1/2"
Gate Gate 45
.00° 5" 13 2'-5" of 30
49 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
General Steel SR1/SR4 Skin Construction BUILD is on lauan 1 Notes: face SR1 is 1st is is , BUILD 1”x2” level flush 7'-8" , steel to SR2/SR4
1 7'-6"
front SR4 2 1/2"
welded 4'-0"
of 2" OC wall is 2nd , bolted (Framing SR1b/SR4b (Top SR1/SR4 together 2'-10" 3'-0" View) View) Date: 2/1/2018
2 1/2"
7'-8" 2" SR1 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION (Sheet SR1b/SR4b (Top SR1/SR4 3'-0" 3'-0" View) Layout) SR2 Johnny Carson Avenue Stage Studio Right Unit - Q Lied Center
8'-0"
7'-10"
4'-0" OC SR3 (Framing Scale: SR1/SR4 2'-10" 3'-0" SR4 View) 1" = 1'
Li Scenic Drawn Director: ghting By: Designer: Designer:
8'-0" A J L BGW . . . Thompson Park Shoemaker (Sheet 402 SR1/SR4 3'-0" Brendan Layout) .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail .com Sheet 14 of 30
50 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan
to 6'-3 3/4" attempt prior qualified use contained SR1 contained .
to 6'-1 3/4" must is any to
the to 4'-0"
OC General TOP Flush 1”x2” Backset SR2a Skin Construction 2'-5" is TOGGLE on cut is lauan Notes: 1st 1”x2” face openings level is is at OF 1”x2” flush angled , SR2 SR2b SR2a (Framing 5'-4" steel (Top to SR2b 5'-11" SR2b front ends is 1'-0 1/4" 3'-10 1/2" View) is 2nd welded View) 2” of to SST , wall bolted clear OPEN 2'-10" together
22 .5º 5" Date: 6'-3 3/4" 2" 2/1/2018 4'-0" 2'-3 3/4" SR3 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION SR4 (Sheet (Top 5'-11 SQ SR2b SR2b View) Layout) - 3/8" LP OPEN Johnny Carson Avenue 22
Stage .5º Studio Right Unit - Q Lied Center
9'-4 1/4"
9'-1 1/4"
4'-0" 4'-0" 1'-1 1/4"
OC OC 2 1/2" 1'-10 1/2" (Framing Scale: 2” SST 5'-11" 1'-11" SR2 View) 1" = 1'
1'-9 1/2" Li Scenic Drawn Director: ghting By: Designer: Designer: 2 1/2" A J L BGW . . . Thompson Park Shoemaker 8'-0" 1'-4 1/4" 2"
4'-0" 4'-0" 1'-4 1/4" 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail (Sheet 5'-11 SQ SR2 Layout) - 3/8" LP .com Sheet 15 of 30
51 do if build use be Permission Greene-Walsh property within All you SR1 so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
General No Flush 1”x2” Backset SR3a Skin Construction welds is on cut is lauan SR2 Notes: 1st 1”x2” face openings inside level is is at 1”x2” flush openings angled , SR3b steel to front ends is please 2nd welded of to , wall bolted clear together
Date: 7'-8"
7'-6"
2/1/2018 4'-0" OC SR3 10 9
3/4" 3/4"
22 .5º SR4
3'-9" 3'-5 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION 1/4" 5'-11 (Framing 3/4"
2'-7 1/2" 11 1/2" (Top 6'-11 OPEN SR3b 5'-0" 5'-2" SR3 View) 3/4" View) Johnny Carson Avenue Stage Studio Right Unit 10" - Q Lied Center
8'-0"
7'-10"
Scale: 7'-2 3/4" 4'-0" OC 7 6 3/16" 3/16" 1" = 1'-10 1'
11/16" 5 1/4" 6'-7 1/2" 3'-1 3/16" 3'-9 OPEN 2'-6" Li Scenic Drawn 3/16" Director: ghting 5'-0 By: Designer: 7 1/4" Designer: 11/16" 6'-4 (Framing 3/16" 6'-11 SR3 6" A J 3/4" BGW L . . View) . Thompson Park Shoemaker
3'-9"
3'-1 1/2" 402 OPEN 2'-6" Brendan .658 .6210 Technical Greene-Walsh brendan 5 9/16" Director .gwalsh@gmail
7'-0 1/2" .com Sheet 16 of 30
52 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified SR1 use contained contained .
to must is any to
the to
General No Flush 1”x2” Backset SR3a Skin Construction welds is on cut is lauan Notes: 1st 1”x2” face openings inside level is is at 1”x2” flush openings angled SR2 , SR3b steel to front ends is please 2nd welded of to , wall bolted clear together Date:
2/1/2018 4'-0" 3'-8"
22 .5º SR3 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION SR4 (Sheet (Top 7'-0 SQ OPEN SR3b SR3 - View) Layout) 1/8" LP Johnny Carson Avenue Stage Studio Right Unit - Q Lied Center 2"
7'-8"
4'-0" 4'-0" Scale: 1" = 1' OPEN
Li Scenic Drawn Director: ghting By: Designer: (Sheet Designer: 7'-0 SQ - 1/8" SR3 LP Layout) A J L BGW . . . Thompson Park Shoemaker OPEN 402 Brendan .658 .6210 Technical Greene-Walsh brendan 2" Director .gwalsh@gmail 8'-0" .com Sheet 17 of 30
53 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior
qualified 6'-6 3/4" use
contained 3'-10" contained .
to must is 3'-8" any
to 6'-6" 3 1/2"
the to
SR Fire SR SR SR2b (Front (Front (Top (Top Door Door Escape 2'-9 General Window CS CS Stairs Door Windows 2'-6" 2'-6" Window View) View) View) 1/2" View) Jamb Jamb treads treads jambs Window are Notes: sill are ply have have is are 1”SST construction 3/4” 1x4 1/4” 1/2” ply lumber welded roundover overhang coated coated in on bullnose Tuff 8" 3'-8 1/2" sides in II Tuff 7 1/4" 10" 3'-6 1/2" and II fronts SR SR 2'-4 (Front (Top Front Front 3/4" 3'-0" 3'-0" View) View) Step Step SR 2nd SR3b (Front (Top 4'-11 Level Date: Window View) View) 1/2" Window
2/1/2018 8"
7 1/4" SR (Side Front 8 10" 1/2" View) Step VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
3'-8 1/2"
6'-6 3/4" 3'-6 1/2"
6'-6" 3 1/2" 6 7/8" SR 1'-7 1st SR3 (Front (Top 5/8" 2'-5 2'-3 Level Window View) 1/2" 1/2" Johnny View) CS CS (Front Window (Top Door Door 2'-9 2'-9 View) 1/4" 1/4" View) Carson Avenue Jamb Jamb Plate Studio
Notes 2'-9" 9 1/2" - Q Lied Center
1'-4" 2'-11" 1'-3 1/4" 2'-9" 10 CS 1/2" (Side 1'-7
8" 1'-4 Step 3/4" View) 1/2" Unit CS3b CS3b (Front Opens 7 1/4" (Top 2'-11" 1/4" Window Window 1/2" View) View) Out Scale:
1'-3 1/4" CS 9 Step 3/4" (Side 1"
1'-7 8" 4'-0" = Unit 5 3/4" 1' View) 3/4" 1 1/2" 3'-10" Carriage 4 1/4" 10" 7 1/4" 2'-4 7/8" Li Scenic Drawn Director: ghting By: Designer: Designer: CS3 CS3 (Front (Top CS3 CS3 (Front 1/2" 3'-7 Window Window (Tip 4'-0" 4'-0" 3'-7 3'-5 1/2" View) Window Window View) View) View) 1/2" 1/2" Sill Sill A J L BGW . . . Thompson Park Shoemaker CS (Front Step 3'-6" 3'-7" View) 2 Unit 402 1/4" Brendan .658 10" .6210 2'-11"
2'-9" Technical Greene-Walsh brendan 1'-5" Director
.gwalsh@gmail 10 1/2" 1'-5" 1'-4" 8 1/2" CS3 CS3 CS4b CS4b (Front Opens (Top 7 Basement Basement 2'-11" 3/4" BUILD (Front (Top Window Window 1'-4 View) View) Out View) 1/2" .com View) TWO Window Window Sheet CS (Top 3'-6" 3'-7" Step View) Unit 18 of 30
54 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to 15'-5" must is any to
the to 9'-1"
3'-3 1/2"
1'-2"
2" 2" 1'-0" 7" CS1 General Add Glue Cut Trim CS1 (Front to CS2 (Top blocking is and Trim fit C CS1 1/2”
A 22 Notes: D View) B .5º View) staple Layout & behind 3/4” MDF unit
where 15'-5" CS
9'-1" Unit CS3 necessary (Top - Corner
3'-3 1/2" View)
1'-2" Trim for
attachment 2" 2" 1'-0" 7" CS2 (Front (Top Trim CS2 D
View)
View) B 22 A
C Layout .5º CS4 Date: CS5 2/1/2018 CS1 CS2
D
C 22 .5º VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION CS3 A (Front (Top Trim CS3 E View) View) Layout CS A Unit CS3 A B (Top - Crown View) layout Johnny Carson Avenue CS CS4 CS4 NOT A Unit Studio NOTE: (Front (Top Trim on B Trim BEVELED CS4 A CS4 View) Trim View) - Layout Q C Lied CS5 D D Center CS5 C (Front (Top Trim A CS5 View) View) B Layout
7 1/8" 1 1/2"
7"
Scale: 3/4" 1/2" = 1' CS CS BUILD (Front
(Top PRINT Unit Unit 1'-3" 1'-3" NOTE: View) Capital Capital FOUR View) 1:1 FOR TD Li Scenic Drawn Director: ghting WILL
7" CAPITAL By: Designer: Designer: 6"
3 1/2" Trim Stack (Side C layout View) Profile 3/4" A J L BGW . . . Thompson Park Shoemaker Trim Trim Trim Trim Trim (Side (Side (Side (Side (Side 2 1/4" D C A B E 3/4" 1/2" 1/2" 1/2" View) View) View) View) View) 402 Profile Profile Profile Profile Profile Brendan .658 .6210
3/4" 4" 7" 1'-0" 2" Technical Greene-Walsh brendan Director .gwalsh@gmail
Scale: Trim Trim Trim Trim Trim Trim (Front (Front (Front (Front (Front .com Profiles 3" D C A B E Profile Profile Profile Profile Profile View) View) View) View) View) = 1'-0" Sheet 19 of 30
55 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
15'-6"
General 8'-8" Add Glue Cut Trim to
blocking 8" 9" 2" is and fit made Notes: staple SR1 (Front (Top C behind of Trim SR1 A View) B 1/2” when View) layout & units stacking 3/4” where MDF necessary
15'-6" for
attachment 8'-8"
8" 9" 2" C SR1 A B SR2 (Front Date: (Top Trim SR2 View) View) layout C 2/1/2018 SR2
22 .5º SR Unit (Top - FOR Trim NOTE: View) CAPITAL VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION Layout SEE PLATE DETAILS 21 15'-4"
8'-8"
8" 9" SR3
SR4
22 .5º SR3 Johnny (Front C Trim C (Top View) layout Carson SR3 Avenue View) SR Unit Studio Trim A B C Detail - Q Lied D Center
15'-6"
8'-8"
8" 9" 2" SR4 (Front (Top Trim C SR4 View) View) A B layout Scale: 1/2" = 1'
Li Scenic Drawn Director: ghting By: Designer: Designer: 3/4" 3/4" 1/2" 1/2" A J L BGW . . . Thompson Park Shoemaker 4" 2" 9" 8" 402 Brendan .658
.6210 Scale: SR Trim Trim Trim Trim Unit (Front (Front (Front (Front Technical 3" Greene-Walsh brendan = Trim D A C B 1'-0" Profile Profile Profile Profile View) View) View) View) Profiles Director .gwalsh@gmail .com Sheet 20 of 30
56 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
1'-4" 3 3/4" General SR2 Sheeted SR3 Capital Capital
Notes: 2" in lauan is is 3/4” 1x2 9 1/2" , trimmed steel MDF 6" tube , glued 2'-7 with 1:1 1/2" NOTE: framed and 3/4” PRINT stapled 4'-5 MDF SR3 SR3 TD 1/2" OUT (Front (Front Capital Capital SR3 SR3 (Top (Top WILL 10 1/2" 6'-11 6'-11 5'-4" 5'-4" Capital Capital View) View) View) View) 3/4" 3/4" OF Framing Framing PROVIDE CAPITAL
6" Date: 2/1/2018
1" 3" VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
1'-4"
1'-0" 1'-0" Johnny SR3 SR3 SR3 Stage Carson Avenue Capital Capital Capital (Front (Front (Front Right 6'-11 5'-10" 5'-10" Studio Sheet View) View) View) Arch Composite 3/4" unit trim layout layout - Q Lied detail Center R 4'-9" Scale: 6" 1'-0" 2" 3" 6" 6" 3/4" 1" 2" = 3 3 3/4" 3/4" 1' 3/4"
Li Scenic Drawn Director: ghting SR2 SR2 By: Designer: Designer: Capital Capital 4'-6 (Front (Front (Front SR2 SR2 (Top 4'-3 5'-0 4'-3 1/2" 4'-11" 4'-11" 4'-11" 4'-5" Capital Capital View) Hidden Sheet 1/2" 1/2" 1/2" View) View) View) layout A J L BGW Lines . . . Thompson Park Shoemaker 402 Brendan .658 .6210
1'-0" Technical Greene-Walsh brendan Director .gwalsh@gmail SR2 Capital SR2 (Side (Side 3 3 2 3/4" 3/4" 1/4" 3" 3" Capital Hidden View) View) .com 1'-0" Lines Sheet 21 of 30
57 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to 7 1/4"
7 1/4" 6 3/4" 8 1/2" 8" 1/2" 1/2" 1/2" General SL Trim Flower Unit piece box trim Notes: added construction is 1/2” on MDF after , is cut construction 1/2” to fit MDF openings glued & stapled Large Large Large BUILD BUILD BUILD (Front (Front Flower (Top Flower Flower 3'-6" 3'-7" 3'-6" 3'-7" 3'-6" View) View) View) TWO TWO TWO Box Box Box Trim Date: 2/1/2018 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION A (Front SL
Unit Scale: SL 7 1/4" View) Trim Unit 1/2" layout Johnny Trim = 1'-0" Large BUILD (Side Carson A Avenue Flower 8" 7" View) TWO Plate Studio Box Notes - Q Lied Center (Side A Trim View) Profile 1/2"
2" 7 1/4" 6 3/4" 6 3/4" 6 3/4"
5 3/4" 3/4" 1/2" 6 1/4" 1/2" (Front A Trim View) Profile Scale: 3" = 1'
Li Scenic Drawn Director: ghting Small By: Designer: Small Small Designer: (Front Flower (Top (Top 2'-10 2'-10 2'-10 2'-11 2'-11 Flower Flower View) View)
1/2" 1/2" 1/2" View) 1/2" 1/2" Box Box Box Trim A J L BGW . . . Thompson Park Shoemaker 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail
6 3/4" .com Small (Side Sheet Flower 7" 6" View) Box 22 of 30
58 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
General Framing Construction Frame Cut Sheets Construction profiles to are Notes: is fit viewed 1/4” before is is glue 3” maso CDX FROM framing and lip narrow REAR & clip crown framing
18'-0 3/4" staple J1 21 1 11 Date: 2/1/2018 2 12 J1 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION 3 13 J2 4 14 Johnny Ground Carson Avenue Row framing Studio & 5 - 15 composite Q Lied 40'-0" Center 6 J2
7'-10 1/2" 4'-0" 16 7 17 J3 Scale: 22 18 1/2" 8 = 1'
Li Scenic Drawn Director: ghting By: Designer: Designer: 19 9 J4 A J L BGW . . . Thompson Park Shoemaker 20 10 J4 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail .com Sheet 23 of 30
59 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not 12'-0" of not drafting Brendan to attempt prior
qualified 11'-11 1/4" use contained contained .
to must is
any 10'-7 3/8" to
the to
7'-5 1/4"
General Attach Foot Foot Glue Construction brace strap 2'-10 and 3'-1 BUILD
brace Notes: LP J1
1/2"
1/2" - screw 4'-0 is SP 2
is 45 .00° 13/16" 3/4” and is 3/4” 2x4 ply strap ply with after 3/4” construction blocks 7'-11 1/4"
8'-0"
15'-0"
14'-11 1/4"
13'-9 1/2" Date:
10'-7 3/8"
2/1/2018 7'-5 1/4" 2'-10 3'-1 BUILD
VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION J2 LP
1/2"
1/2" - 4'-0
2 SP 13/16" 45.00°
11'-11 1/4"
11'-11 1/4" Johnny Carson Avenue Door
Studio 13'-6" Jacks
13'-5 1/4" - Q Lied 10'-7 3/8"
Center 7'-5 1/4"
4'-0 13/16" LP 2'-10 3'-1
BUILD -
SP
J3 LP
1/2"
1/2"
45 40
3'-9
.00° - .00° 1 SP 1/16"
11'-11 1/4" Scale:
12'-0" 1" = 1'
10'-0"
9'-11 1/4"
9'-8 3/4" Li Scenic Drawn Director: ghting 7'-5 1/4" 1'-0" By: Designer: Designer: Build 6" 3 A J L BGW . . . Thompson Park Shoemaker 2'-10 3'-1 BUILD
J4
1/2" LP
1/2"
3'-6 - 2
35 SP .00° 1/8" 402 Brendan .658 6" .6210
7'-11 1/4" Technical Build Greene-Walsh 6" brendan 8'-0" 7 Director .gwalsh@gmail
4" 4"
7 3/4" 6" (Side Foot Foot (Top .com 3/4" 1 1/2" 3 Build 45 Build
.00° 1/2" 4" brace brace View) View) 6" 7 7
Sheet J3 J4 Scale: Block (Front (Top Foot Foot Corner Corner 8 Build Build Build 6 6 9/16" Build Build 9
1/2" 1/2" 45
1/4" 35 3" View)
strap strap .00°
& .00° View) 6" 14
7 7 40 = Brace 1 2 Block .00° Block (Front Foot 1'-0" Build 3 1/2" 24 brace View) detail 7
of 4" 30
60 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior
qualified 1 1/2" use contained contained .
to 7'-7 1/2" must is any to
the 4'-0" to 3"
1 1/2"
OC 21 3'-7 4'-0" General Only Use Lip Framing Frame FRAMING 1/2" and ample assemble to clip 1 Notes: is 11 fit IS 3/4” 1 glue construction 2nd 1/2" VIEWED is ply and level 4’ ripped wide 1 3/4” 1/2" FROM method or sections to 7/8” 3” REAR strips 3'-9" narrow (1+11+22) crown 2 12 1 1/2" staples Date: 3'-9" 3 13 2/1/2018 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION 3'-9" 4 14 Johnny 3'-9" Carson Avenue Ground 5 15 Studio Row framing - Q Lied Center 1'-1 1'-5 1/8" 5/8" 6 4'-0" 16 Scale: 4'-0" 2'-6 2'-1 3/8" 7/8" 7 1/2" 17 = 1'
Li Scenic Drawn Director: ghting By: Designer: Designer: 22 3'-9" 18 8 A J L BGW . . . Thompson Park Shoemaker 402 Brendan .658 .6210 3'-9" Technical Greene-Walsh brendan 19 9 Director .gwalsh@gmail .com 3'-7 Sheet 1/2" 20 10 25 of 30
61 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior
qualified 17'-2 1/4" use contained contained .
to must is any to
the to
General Drill PVC Round 3/4” Masking Construction Projection hole x screen (Composite 2” over Notes: staple skin for 10'-6" 9'-6" edge 1/8” stretched Screen is is strips 1”x2” 1/4” View) cable of Unit staple MDF steel attach over to run tube strip and to for back stapled hang of point projection at load in screen
17'-2 1/4" Date: 2/1/2018 (Hidden Projection Projection (Composite Lines 10'-6" 9'-6" Screen Screen Top Front View) Unit Unit View) VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
17'-2 1/4" Johnny (Hidden Projection Carson Avenue Projection Lines 5'-0" Screen Studio Side Screen View) Unit - Q Unit Lied
1" Center 6'-0"
LP - LP 3/4"
45 .00°
11'-1 1/2" 11'-0 1/2" 2" 5'-1" Projection Projection 2" (Front (Top LP 10'-6" 10'-6" Projection Projection - View) View) LP Screen Screen BUILD BUILD (Side (Top
5'-0" Screen LP Screen
View)
View)
TWO - TWO
7'-0
45 LP
Scale: .00° 7/8" Jack Jack 1/2" Projection = 1'
BUILD (Front 11'-1 1/2" Screen 2" View) TWO Li Scenic Drawn Director: ghting Jack By: Designer: Designer: Projection
(Side 6'-0 3/4" 1 2 3/4" 3/4" View) Screen A J L BGW . . . Thompson Park Shoemaker
2" 4'-0" 3'-10" 402 Brendan .658 3'-11" .6210 Technical Projection Projection Projection 7'-10" (Sheet 8'-0" Greene-Walsh brendan (Front (Top 9'-6" 9'-4" 9'-6" 9'-4" View) Layout) Director View) Masking Masking Masking .gwalsh@gmail .com 1'-6" Sheet Projection (Side 26 4'-0" 2 1/4" 2" View) Masking of 30
62 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
20'-0" General Handrail Pipe 3/4” Projector ply stab base Notes: is cradle is 1” 2” 5'-7" , SST cased OD is 1” welded Sched to SST capture 40 w/ 9'-9 3/4" 10'-2 1/4" C Clamp projector 9'-8"
in 8'-0 1/8" 1x2 9'-0" at top
1'-4"
Date: 1'-2"
(Top 1'-2" Cradle 1'-2" 1'-0" View) 2/1/2018
6'-3"
LP
-
LP 2'-0" 1'-5" 3'-9 VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION 5/8" (Side Cradle 1'-2" 1'-0" View) CS CS Hand Hand 3'-4" 7'-9" 7'-7" Rail Rail (SL) (SL)
2'-0" (Front Cradle 1'-4" 1'-2" View)
Johnny 45 .00° Projector Carson
Avenue 6'-3"
CS LP CS
Cradle/Hand
Studio - 2'-7 2'-6 Hand Hand LP 1'-5" 1/2" 1/2" Rail Rail (Side - Q (SR) (SR) Lied Cradle
Rails View)
Center 3'-4" Scale: Projector 1"
3'-5" = 1'-0" Cradle 3'-4" CS CS Hand Hand (Top 2'-10" Cradle 3'-0" View) Rail Rail (US) (US)
1'-0" Scale: 1/2" = 1'
6'-7" LP
Li Scenic - Drawn Director:
2'-8
ghting LP 1'-5" 1/2" By: Designer: SR SR Designer: Hand Hand 3'-4" 5'-6" 5'-4" Rail Rail (SL) (SL) A J L BGW . . . Thompson Park Shoemaker (Front Cradle Cradle (Side 9'-2" 9'-2" 9'-1" 9'-0"
View)
View)
Stab Stab 45 .00° 402 Brendan .658
.6210 3'-4" SR SR Hand Hand 1'-8" Technical Rail Rail Greene-Walsh brendan (SR) (SR) Director .gwalsh@gmail .com Sheet 27 of 30
63 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
General Ground
Plan Notes:
LOBBY
ACCESS AUDIENCE
EXIT FIRE EXIT FIRE
PANEL ACOUSTIC Date:
2/1/2018
6'8" 20
6'0"
18
VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
18 5'4"
4'8"
18
4'0"
18
3'4" 18
Johnny
2'8" 18 Carson Avenue
Ground
2'0" Studio 18 Plan
-
Q 1'4" Lied 18
Center
0'8" 18
18 0'0"
Scale: LEGS LEGS TO DRESSING LOADING DOCK 1/4" ROOMS = 1' ,
Li Scenic Drawn Director: ghting By: Designer: Designer: LEGS LEGS SCRIM BORDER
A CYC J PANELS L ACOUSTIC BGW . . . Thompson Park Shoemaker 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail .com Sheet 28 of 30
64 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
General Ground Plan Notes:
w/dims
LOBBY
ACCESS AUDIENCE
Date:
EXIT FIRE EXIT FIRE
PANEL ACOUSTIC
2/1/2018
6'8" 20
VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION
6'0" 18
18 5'4"
4'8" 18
4'0" Johnny 18
Carson 3'4" Avenue 18 Ground
Studio
Plan 2'8" 18 w/dims -
Q Lied
2'0" 18
Center
1'4" 18
0'8" 18
18 0'0"
47'-0" 1'-11 1/2" 1'-7 1/2" 2'-11 13/16" 42'-3" 6'-5" 8'-11 13/16" Scale:
12'-0" 3'-8 1/4"
31'-10 5/16"
1/4" LEGS LEGS
2'-3 TO 3/4" DRESSING LOADING = 1' 24'-0"
14'-7 1/16" DOCK ROOMS 19'-9 1/8" Li Scenic Drawn Director: ,
ghting 18'-3 15/16" By: Designer:
Designer: 29'-9 1/2"
3" 3'-6"
4 1/2" 4 1/2"
A LEGS LEGS J L BGW . . . Thompson Park Shoemaker BORDER SCRIM 2'-0" 2'-0"
CYC PANELS ACOUSTIC 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail .com Sheet 29 of 30
65 do if build use be Permission Greene-Walsh property within All you so obtained information . Do anything are . this
not of not drafting Brendan to attempt prior qualified use contained contained .
to must is any to
the to
General Cyan Magenta Magenta CL marked is softgoods Notes: dims is in added red denote . Arch . pipe added for dims softgoods off pipes in red . .
.
ACCESS AUDIENCE
LOBBY
EXIT FIRE BOOTH EXIT FIRE
1 1 24'-5 2" 23'-10 2"
SCAFFOLDING SCAFFOLDING Date:
platform
6'0" 0'0" lighting/sound
2/11/18
6'8" 20
ELEC AA
199 199
1 6'0" 18 1
N/C N/C A ELEC
18 VECTORWORKS EDUCATIONAL VERSION 5'4" VECTORWORKS EDUCATIONAL VERSION
4'8" ELEC A 18
141 141 141 199 199 1 2 3 4 5
N/C N/C
4'0"
18 N/C N/C N/C
201 for RISER SEATING STAGE END
3'4" ELEC B 18 B ELEC 1 1 25'-5 2" 25'-1 2"
Johnny 2'8" ELEC CC 18 199 Scenic/Electrics 2 199 N/C 1
Carson
Avenue N/C
2'0" 18 502 501
3
Studio 1 Merged
1'4" 18
ELEC C 199 C ELEC -
Ground 503 504 Q 4
Lied 11 94 61 12 53 13 51 72 92 93 54 55 14 20 15 56
199 N/C
0'8" 18 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 N/C T T Center
Plan R53 N/C N/C R53 N/C R53 N/C R53 N/C N/C N/C N/C R53 R53 R53 N/C
ELEC D D ELEC
xx 18 0'0"
401 2 402 3 71 21 91 4 403 404 22 5 23 405 95 24 406 R333 1 1 2 3 5 6 8 9 10 11 12 14 15 16 18 19 20 21 22 17 16 R04
R333 R333 R53 R04 R53 R04 R333 R04 L201 25 R333 52 R04 1 19 13 7 4 5 63 R04
18 30 29 R53 2 R53 2 N/C E ELEC ELEC E R53 8 13 505 506 6 62 8 26 73 N/C R53
N/C N/C N/C R04 N/C N/C N/C X 41 42 43 17 46 18 47 19 48 1 3 4 5 6 9 10 11 12 15 27 121 R333 N/C R333 R04 R53 7 14 28 126
7
R04 16 R333 136 R119 R04
ELEC F 2 135 F ELEC N/C N/C N/C N/C 125 N/C 81 R119 203 123 136 N/C G ELEC LEGS 201 LEGS 1 3 4 5 6 7 8 9 12 TO
N/C 35 132 DRESSING
Scale: 85 125 N/C N/C N/C 74 LOADING 85 N/C 44 45 407 408 49 50 83 1 3 5 6 2 7 11 32 122 33 34 135
85 31 N/C 133 133
134 131 134 N/C N/C DOCK ROOMS ELEC H 124 H ELEC 7
1/4" 111 R119 111 N/C N/C 74
1 2 N/C 4 5 8 ,
= N/C 36 37
1' 82 R381 N/C 3 R381 6 6 202 38 ELEC I 75 75 I ELEC R06 R06
2 4 Li
Scenic 1 3 Drawn Director: 7'-7 ghting 112 113 507 508 1 LEGS LEGS By: Designer: 16
Designer: BORDER SCRIM " ELEC J J ELEC 3'-8" 309 302 303 304 305 306 307 308 301 310 312 313 314 311 1 9 2 3 4 5 6 7 8
CYC 1 2'-10 2"
1 3 3 4 5 10" PANELS ACOUSTIC A J BGW L Notes . . . Thompson Park Shoemaker ELEC
1 1 23'-10 2" 23'-10 2" 1 ELEC ELEC ELEC 4 3 2 402 Brendan .658 .6210 Technical Greene-Walsh brendan Director .gwalsh@gmail .com Sheet 30 of 30
66
Appendix C: Documentation
Avenue Q Page # 0
costed by: BG-W Date: 12/29/17
Description Total Material Item # 1 CS 1st level & façade $ 897.88 Item # 2 CS 2nd level $ 171.38 Item # 3 SL Wall $ 268.91 Item # 4 SR 1st level & façade $ 1,199.98 Item # 5 SR 2nd level $ 243.15 Item # 6 Billboard Projection Screen (COST MOVED) $ 326.77 Item # 7 Ground Row $ 617.68 Item # 8 Fence unit (UNIT CUT) $ 197.76 Item # 9 Dumpster, garbage cans (COST MOVED) $ 218.82 Item # 10 $ - Item # 11 $ - Item # 12 $ - Item # 13 $ - Item # 14 $ - Item # 15 $ - Item # 16 $ - Item # 17 $ - Item # 18 $ - Item # 19 $ - Item # 20 $ - Item # 21 $ - Item # 22 $ - Item # 23 $ - Item # 24 $ - Item # 25 $ - Subtotals $ 4,142.33
Contingency $ 350.00 10% Subtotal $ 4,492.33 Paint $ 350.00 10% Subtotal $ 4,842.33 Props Total $ 4,842.33
Budget $ 3,500.00 Balance $ (1,342.33)
67
Avenue Q Page # 1
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: CS 1st level & façade
Construction Method: Standard 1x4 construction Glue & staple Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 3/4" 4x8 CDX 2 $ 24.28 $ 48.56 1/4" 4x8 Maso $ 13.48 $ - 1/4" 4x8 Lauan 16 $ 13.98 $ 223.68 3/4" 4x8 MDF 3 $ 28.99 $ 86.97 1/2" 4x8 MDF 3 $ 24.68 $ 74.04 2x4x8 15 $ 2.98 $ 44.70 1"x2"x24' 16 ga 15 $ 20.00 $ 300.00 1"x24' SST 16 ga 2 $ 17.00 $ 34.00 34"x80" door 1 $ 58.00 $ 58.00 Door handle 1 $ 12.99 $ 12.99 Hinges 6 $ 2.49 $ 14.94 $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 897.88
68
Avenue Q Page # 2
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: CS 2nd level
Construction Method: Standard 1x4 construction Glue and staple Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 3/4" 4x8 CDX 2 $ 24.28 $ 48.56 2x4x8 18 $ 2.98 $ 53.64 2x4x12 2 $ 4.59 $ 9.18 1"x2"x24' 16ga 3 $ 20.00 $ 60.00 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 171.38
69
Avenue Q Page # 3
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: SL Wall
Construction Method: Standard 2x4 construction
Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 1/4" 4x8 Lauan 3 $ 13.98 $ 41.94 2x4x8 26 $ 2.98 $ 77.48 3/8" 4x8 CDX 3 $ 14.33 $ 42.99 3/4" 4x8 CDX 2 $ 24.28 $ 48.56 36" muslin 6 $ 2.99 $ 17.94 1"x2"x24' 16 ga 2 $ 20.00 $ 40.00 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 268.91
70
Avenue Q Page # 4
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: SR 1st level & façade
Construction Method: Welded construction Glue & screw facing Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 3/4" 4x8 MDF 2 $ 28.99 $ 57.98 2x4x8 10 $ 2.98 $ 29.80 1/4" 4x8 lauan 21 $ 13.98 $ 293.58 1/2" 4x8 MDF 2 $ 24.68 $ 49.36 1"x2"x24' 16ga 28 $ 20.00 $ 560.00 1"x24' SST 16ga 3 $ 17.00 $ 51.00 3/4" 4x8 BC 1 $ 24.28 $ 24.28 30"x80" door 2 $ 54.00 $ 108.00 Handset 2 $ 12.99 $ 25.98 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 1,199.98
71
Avenue Q Page # 5
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: SR 2nd level
Construction Method: Welded constrcution Glue & screw facing Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 3/4" 4x8 CDX 3 $ 24.28 $ 72.84 1/2" 4x8 BC 1 $ 22.95 $ 22.95 2x4x8 12 $ 2.98 $ 35.76 2x4x10 8 $ 3.95 $ 31.60 1"x2"x24' 16ga 4 $ 20.00 $ 80.00 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 243.15
72
Avenue Q Page # 6
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: Billboard Projection Screen
Construction Method: Welded construction RP screen stretched & stapled Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 94" gray RP screen /yd 3 $ 55.00 $ 165.00 Rosebrand shipping 1 $ 40.00 $ 40.00 1"x24' SST 2 $ 17.00 $ 34.00 6"x10' PVC 1 $ 30.99 $ 30.99 1/2"x8' emt conduit 3 $ 2.74 $ 8.22 3/4" 4x8 CDX 2 $ 24.28 $ 48.56 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 326.77
73
Avenue Q Page # 7
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: Ground Row
Construction Method: Trace image - jig out patterns Lip & clip framing Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 1/4" 4x8 Maso 16 $ 13.48 $ 215.68 1x4x8 30 $ 3.33 $ 99.90 $ - 1/4" 4x8 Maso 15 $ 13.48 $ 202.20 1x4x8 30 $ 3.33 $ 99.90 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 617.68
74
Avenue Q Page # 8
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: Fence unit
Construction Method:
Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 3/4" 4x8 MDF 4 $ 28.99 $ 115.96 3"x10' PVC 2 $ 8.98 $ 17.96 2x4x8 8 $ 2.98 $ 23.84 12" acrylic globe shade 2 $ 20.00 $ 40.00 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 197.76
75
Avenue Q Page # 9
costed by: BG-W Date: 12/29/17
CONSTRUCTION DETAILS
Structure: Dumpster, garbage cans
Construction Method:
Details:
Hardware:
MATERIAL
Item Quantity (ea) Unit Cost Total Cost 31 gallon galv trash can 4 $ 19.97 $ 79.88 3/4" 4x8 MDF 4 $ 28.99 $ 115.96 Corrugated roof panel 1 $ 22.98 $ 22.98 $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
Totals $ 218.82
76
Avenue Q Reciept Tracking Reciept # Date Vendor Reciept Total 1 1/9 Menards $565.82 2 1/16 State Steel $812.36 3 1/23 Menards $838.53 4 1/30 Menards $86.38 5 2/1 Menards $7.90 6 2/4 JoAnn Fabric $11.96 7 2/6 Menards $193.91 8 2/8 Menards $43.97 9 2/10 Menards $15.91 10 2/10 Michaels $8.69 11 2/13 Rosebrand $259.37 12 2/15 Menards $144.66 13 3/5 Menards $12.88 14 3/9 Paint $299.09
Subtotal to Date $3,301.43 Date: 3/9/18
77 Avenue Q - Spring 2018 SR Unit build Ground Row Build SR Unit build SL/CS Units build Subdeck Sun 28 21 14 31 7 Ground Row Build Mon 29 22 15 8 1 Subdeck to paint Build Begins Subdeck Tue 30 23 16 9 2 SR Unit build SL/CS Units build Wed 31 24 17 10 3 SR Unit to paint Thu 25 18 11 1 4 SL/CS Walls to paint Fri Jan 2018 (Central Time) 26 19 12 2 5 Sat 27 20 13 3 6
78 Avenue Q - Spring 2018 AQ - 10/12 Lights Load In Paint Call SR Unit build Ground Row Build Sun 25 18 11 28 4 AQ - Notes Load In Flower Boxes/Misc GR to paint Projection Screen Mon 26 19 12 29 5 AQ - Tech AQ - Notes Tue 27 20 13 30 6 Wed 28 21 14 31 7 SR Unit to paint Thu 22 15 1 8 1 AQ - Open Rehearsal AQ - Spacing Fri Feb 2018 (Central Time) 23 16 2 9 2 AQ 10/12 Paint Call Sat 24 17 10 3 3
79 Avenue Q - Spring 2018 AQ - 10/12 Sun 25 18 11 25 4 AQ - Notes Mon 26 19 12 26 5 AQ - Tech AQ - Notes Tue 27 20 13 27 6 Wed 28 21 14 28 7 Thu 29 22 15 8 1 AQ - Strike AQ - Open Fri Mar 2018 (Central Time) 30 23 16 9 2 Sat 31 24 17 10 3
80
Avenue Q Load In Schedule
Monday, 2/19
Load truck Hang cyc, scrim, border and legs Spike and chalk center line & US reference line for subdeck Load in subdeck carts, 1st floor units, ground row and projector skirt Install subdeck Install ground row Install SL unit Install CS 1st floor Install SR 1st floor Leg platforms for install Install 1st & 2nd floor platforms
Tuesday, 2/20
Install threshold Install projector screen and cradle Assemble projector skirt & install Install escape stairs Install fire escape and ladder Install 2nd levels
Wednesday through Friday
White stripe DS edge of subdeck Install awning Install flower boxes Install CS capitals Install handrails Install US black duvetyn Install masking legs Install trim
81
Avenue Q Truck Pack
Monday, 2/19
Subdeck carts 1-4 Jacks for GR & projector skirt Ground row SL, CS 1st level, SR 1st level Projector skirt Tech table Road box Platforms and legs (if space available)
Tuesday, 2/20
SR & CS 2nd levels Fire escape Ladders Handrails Black duvetyn Projector screen & cradle Stairs Flower boxes Awning
82
Avenue Q TD Scenic Notes 2/24 General: Weight curtains Finish trim Flower boxes Install sconces Velcroe curtains at double doors & clip Touch up ground row Knock down sheen on plexi Knee cushions for windows Light leaks around curtains Clean windows Move handrail white stripes to top of railing Pull unnecessary white stripes Close up masking curtains, double where needed Carpet backstage areas SR Unit: Address cross bracing Paint bolts/fasteners on fire escape Hem 2nd floor curtains Check door handle CS Unit: Install capitals Add duvetyn to SR side of escape platform Check door handle Seam at door line & up Squeaking coming from ladder SL Unit(s): Install kick plate on US edge Install wall jack >8’ Secure screen to skirt Angle braces on skirt Install street lights Cut masonite to fit below bottom trim height Other: Piano plates Trim chain & dog clips for scaffold openings Clean conductor monitor Cable cross brace scaffolding on US face Clear house of trash Carpet backstage traffic areas Props: Tighten roman shade/move up Bumper/stop on SR trash can lid – hitting wall Bench rocks – safety issue Furniture pads or carpet on bottom of hinged trashcans Dull reflective sheen of hinged trashcans Dull reflective sheen of café tables Paint singing boxes guts Cut hospital bedding to size so it doesn’t get caught in casters
83
Avenue Q TD Scenic Notes 2/26
General: Weight curtains Finish trim Flower boxes Install sconces Velcroe curtains at double doors & clip Touch up ground row Knock down sheen on plexi Knee cushions for windows Light leaks around curtains Clean windows Move handrail white stripes to top of railing Pull unnecessary white stripes Close up masking curtains, double where needed Carpet backstage areas Tighten tie lie for masking curtains SR Unit: Address cross bracing Paint bolts/fasteners on fire escape Hem 2nd floor curtains Check door handle CS Unit: Install capitals Add duvetyn to SR side of escape platform Check door handle Seam at door line & up Squeaking coming from ladder Stab for lantern storage SL Unit(s): Install kick plate on US edge Install wall jack >8’ Secure screen to skirt Angle braces on skirt Install street lights Cut masonite to fit below bottom trim height Hinge tap surface to wall Repair onstage wall edge Cut piece of masonite to 23 5/8” x … Other: Piano plates (6”x6” w/ 1 ½” forstner cut ¼” into surface) Trim chain & dog clips for scaffold openings Clean conductor monitor Cable cross brace scaffolding on US face Clear house of trash Carpet backstage traffic areas Consolidate tools and materials Seating riser install Chair install
84
AVENUE Q TD Scenic Notes 2/28
Masking to hide band (8x8 flats) Awning fabric SR facing bowing away Hook for “For Rent” sign to hang CS below sconce Wrap 2nd floor handrails with duvetyn Tap floor Sand plexi if hairspray doesn’t reduce sheen Move excess chair carts to under HR risers Repack road box and move to shop
85
Avenue Q Strike (3/16)
Seating Units: (Jeff w/Michael, Colin, Karen, RaeAnn & students) Handrails, riser skirts, seats to carts, center aisle platforms & stairs Collapse units once clear
SR DS Masking curtain (BGW) Projector, video gear (BGW & Dylan)
SR UNIT: (Dan, Nate, BGW & Dylan) Duvetyn masking 2nd level façade Fire escape & ladders 2nd level platform 1st level façade & platform KEEP: Steel, door w/jamb duvetyn, legs & jacks
CS UNIT: (Michael, Colin, Karen & RaeAnn) Duvetyn 2nd level façade Ladder 2nd level platform 1st level platform & façade KEEP: Door w/jamb, ladder, duvetyn
SL UNIT: (Dan, Nate, BGW & Dylan) Masking walls Platform Ladder Façade Projector masking Projector screen Projector cradle KEEP: Door, ladder, jacks, masking, screen, steel & cradle
GROUND ROW: (BGW, Michael, Colin, Karen) Begin on SL side KEEP: 2 jacks
SOFT GOODS: (All) Pull bottom pipe from cyc Basket cyc & scrim as grid lowers Fold in Lied Mainstage? Legs & cyc to hamper, Z Tech to Jeff Scrim to Temple
SUBDECK: (Dan, Nate, Dylan, RaeAnn) Begin DSL work to DSR, MSL work to MSR, USL work to USR
GRID: (All) Remove conductor TV (Nate, BGW) Pull pipes and reset All JCSTF cheeseboroughs to Brendan/buckets (27 total)
86
Appendix D: Construction Process Photographs
Center Stage unit framing
Stock door selections 87
Ground row trace and cut out process
Stage left unit 88
Center stage unit – First floor
Center stage unit – First floor 89
Stage right unit – First floor
Stage right unit – First floor
90
Stage right unit backside – First floor
Stage right unit – Second level 91
Stage right unit – Second level
Stage right unit – Fire escape 92
Center stage unit – Second level
Center stage unit – First level
93
Stage right unit – Second level
Stage right unit – First level 94
Stage right unit – Second level
Center stage unit – First level 95
Center stage unit – Second level
Custom built projection screen
96
Stage left and center stage units – Disassembled for transport
Stage right unit – Disassembled for transport 97
Load-in day one – Sub-deck and drapes installed
Load-in day one – End of day 98
Load-in day two – Second level install
Load-in day two – Projection screen and masking 99
Load-in day two – End of day
Load-in day two – End of day
100
Load-in day three – End of day
Load-in day three – End of day 101
Going into tech rehearsals
102
Appendix E: Production Photographs
Finished set
Finished set 103
Finished set – Stage right unit 104
Finished set – Center stage unit 105
Finished set – Stage left unit with projection screen 106
Production photograph – Avenue Q
Production photograph – Avenue Q 107
Production photograph – Avenue Q
Production photography – Avenue Q 108
Production photograph – Avenue Q
Production photograph – Avenue Q 109
Production photograph – Avenue Q
Production photograph – Avenue Q 110
Production photograph – Avenue Q
Production photograph – Avenue Q