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The NATEAC Board

The NATEAC Board

Welcome to

Greetings.

It’s my very great pleasure to welcome you to the 2012 edition of the North American Engineering and Architecture Conference. I hope your travels here were uneventful and that your stay here will be exactly the opposite.

Conferences don’t just happen. It takes a small army to put an event like this together and I’d like to take a moment to recognize and thank the NATEAC army for their help and support.

Sponsors are the backbone of any conference. Their support allows us to be here at the Hilton Hotel in the middle of the theatre capitol of the world. There are 24 companies and 2 organizations listed on the sponsor page and at various locations around the conference rooms. Please join me in thanking them for their support.

It is extraordinary that over 70 industry professionals took the time out of their very busy schedules to speak to us over the next 2 days. Their generosity of time and energy is astonishing and I can only hope that my efforts are worthy of their contribution. As inadequate as it may sound, thank you from the bottom of my heart.

My staff have done an incredible job. They scheduled and re-scheduled sessions, organized meals, boat trips and tours, all in an effort to help make this conference a success. They even put up with me. I want to offer each an every one of them my deepest thanks, gratitude and respect.

Which brings me to you, the delegates of NATEAC. Without you we’d all be back at our day jobs wonder- ing what to have for lunch. Please know that I am very happy to see you here today.

To paraphrase the NATEAC mission statement, we are here to raise the level of awareness and promote better communication between those who are responsible for designing, building, specifying, outfit- ting, occupying, visiting and working in performance venues of all types across North America. My staff and I never lost sight of this and we have done the best we know how to meet that goal.

So now it’s your turn. We packed the next 2 days for your enjoyment and enlightenment. Go. Enjoy. Be enlightened. But most of all, share that which you know and that which you learn. We’ll all be the better for it.

I hope you have a wonderful time here at NATEAC. If there is anything I can do to make your stay here more enjoyable, please do not hesitate to let me know.

Thanks, Bill Sapsis Conference Director The NATEAC Board

Richard Brett Donna Frankel- Scott Georgeson William Gorlin Sarah Gowan Diana Raymond Eddie Raymond Charter Engineer, NATEAC Architect VP-Entertainment NATEAC NATEAC VP-Training, IATSE Theatreplan Ltd. FAIA, NCARB, LEED Div., McLaren Sapsis Rigging, Inc Local 16 Director, TEA AP Engineering

Jake Moerschel Richard Pilbrow Monona Rossol Lori Rubinstein Bill Sapsis Adam Shalleck Robert Shook Boston Symphony Chairman Emeritus, MS MFA PLASA NATEAC AIA, The Shalleck Principal, Schuler Orchestra Theatre Projects Industrial Hygenist Collarborative Shook, Theatre Consultants Planners

The NATEAC Staff and Crew

AV Technicians Administration Staff Volunteers Jason Butscher Dora Novey-Buttfield Linda Aizer Leslie Cohen Lauren Piven Hillary Frisbee Alex Gorman Emma Sapsis Mark Heiser Chris Harris Hannah R Toale Robert Long Abby Walsh Olivia Valentin Tiffany Walker Matt Williams Helen Willard

Special thanks to Patrick Faw and the PSAV Hilton staff.

2 www.nateac.org • 2012 • NATEAC NATEAC Information

Welcome!!

I am delighted & fortunate to have had the opportunity to work with our many fine pan- elists, sponsors & board members over the past many months, and now- here we all are!!

I welcome you all to the North American Theatre Engineering & Architecture Conference 2012 and hope your NATEAC experience is enlightening, exciting, enjoyable, entertain- ing… Well, you get the picture.

Our staff is eager to be of assistance, so please do not hesitate to call upon them if you have any questions, concerns or problems. You will recognize them by their black NA- TEAC crew shirts and baseball caps.

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

We are using the Trianon Ballroom on the 3rd floor and the Beekman and Sut- ton North breakout rooms on the 2nd floor, for all of our panel discussions.

Breakfast and lunch will be served on the 3rd floor in the Rendezvous Room & Petite Trianon. We will have coffee service there throughout the day.

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

The Hilton is a smoke free environment. Please smoke only in designated outdoor areas. Please use the receptacles placed in these areas.

Please turn off your cell phone before entering a session room. (It’s an inter- ruption when you stand up during a session and hurry to the door to take the incoming call.)

Please do not leave bags, briefcases or luggage unattended and keep your valuables with you at all times. We can not be held responsible for lost, dam- aged or stolen property.

Once again I’d like to thank you for attending NATEAC. If there is anything I can do to make your experience here more enjoyable, please do not hesitate to ask.

Donna Frankel, Conference Coordinator

NATEAC • 2012 • www.nateac.org 3 NATEAC Sponsors 2012

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

Platinum Sponsor

Gold Sponsors

Silver Sponsors

4 www.nateac.org • 2012 • NATEAC NATEAC Sponsors 2012

Bronze Sponsors

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

Lighting & Sound Lighting & Sound Protocol Stage Directions ABTT Sightlines America International Magazine Magazines

AIA ASTC USITT The American The American In- PLASA Randi Minetor Institute of Society of Theatre stitute for Theatre Architects Consultants Technology

NATEAC • 2012 • www.nateac.org 5 NATEAC Schedule of Events

Saturday July 21,2012

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

Sunday July 22, 2012 Trianon Sutton North Beekman

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

Keynote Address 8:45a – 10:00a Richard Pilbrow

All You Ever Wanted High School Auditoriums Safety By Design to Know About Stage Dan Culhane (M) Eddie Raymond(M) 10:10a – 11:30p Automation Peter Scheu, Vijay Sehgal Scott Georgeson, Monona Rossol Panel Session I David Edelstein (M), Mark Ager, Scott Fisher, Andy McArthur

Richard Pilbrow 11:30p – 12:00p Book Signing Sponsor sessions

12:00p – 1:00p Lunch

The Changing Infrastructure How to be the Perfect Client NYC Model for Developing of Performance Spaces in the Jack Tilbury (M) Performing Arts Facilities 1:00p – 2:20p Era of Solid State Lighting Cosmo Catalano, Steven Friedlander (M) Panel Session II Steve Terry (M), Curtis Kasefang, Molly McGowan Andrew Burmeister, Joel Rubin, Robert Young David Rosenburg, Adam Bernstein, Adrian Ellis, Carol Ochs

Restoration of Promoting Sustainable Grids, Catwalks & Pre-Depression Era Design Aerial Platforms 2:30p – 3:50p Theaters John Runia(M) Peter Svitavsky (M) Panel Session III Bill Gorlin (M) Nico Kienzl Robert Shook Mitchell Kurtz Mark Loeffler Glenn Turner Francesca Russo

History of A Conversation with Two Case Studies in 4:00p – 5:00p & Its Local One the Pacific Rim Robert Long Paul Dean (M) Craig Gamble Panel Session IV Scott Crossfield Roger Bardwell Virginia Ross Fred Smith

Open Evening

6 www.nateac.org • 2012 • NATEAC NATEAC Schedule of Events

Monday July 23, 2012 Trianon Sutton North Beekman

7:30a – 9:30a Breakfast

What is that Seat Worth? Variable Acoustics Designing for the Next 10 Adam Shalleck(M) Larry Kirkegaard (M) 9:00a – 10:00a Years Duncan Webb Andy Hayles (M) Panel Session V Steven Roth David Kahn David Jensen Arthur van Maurik Susan Feldman

Lincoln Center Renovation Stage Lifts/Stage Edge Efficient Design Ideas Mark Holden (M) Safety Robert Hamilton (M) 10:30a – 11:50p Ron Austin Jules Lauve (M) Virginia Ross Panel Session VI Peter Duffin Tanya Gillette Anne Minors Ben Gilmartin Steve Sweet Katie Oman Peter Rosenbaum Cosmo Catalano

12:00p – 1:00p Lunch

Core Values - What Makes ADA 2012 Working with Manufacturers a Great Theater Scott Crossfield (M) Sonny Sonnenfeld (M) 1:00p – 2:20p Josh Dachs (M) Kristi Avalos Mark Vassallo Panel Session VII David Cromer Michael Maag Jonathan Resnick Charles Isherwood Bob Lorelli Narelle Sissons

Flat Floor Conversion Building Code Non-Traditional Spaces Joe Mobilia (M) Requirements Gregory Miller(M) 2:30p – 3:50p Panel Session VIII Mark Blakeman Karl Ruling (M) Josh Dachs George Shaw William Dailey Ryan Ingebritsen Duncan Webb Shawn Nolan

Plenary 4:00p – 4:45p Steve Ehrenberg Eddie Raymond

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

Tuesday July 24, 2012

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

NATEAC • 2012 • www.nateac.org 7 NATEAC Panel Sessions

Keynote Address: How to Be the Perfect Client Architecture and the Art of Theatre Design Jack Tilbury (M), David Rosenburg, Cosmo Catalano, Jr., Molly McGowan Richard Pilbrow It is often forgotten that theaters are not built by architects and contractors, but by clients. It is the client who identifies the need, creates the vision, writes the brief, raises the money and eventually, after many years of hard work and determination, hires a team to start the design All You Ever Wanted To Know About process. But as the project moves into the world of architects, project Automation, But Were Afraid To Ask. managers and consultants, a new set of challenges awaits. This session will offer practical advice and guidance to clients on how to success- David Edelstein (M), Mark Ager, Scott Fisher, Andy McArthur fully organize your resources and manage your theatre project. A discussion on systems currently in place and the changes we can expect over the next 10 years. The stage panel will look at the im- pact automation will have, not only on HVAC and communications systems, but also on the structural requirements of the venue. City’s Model for Developing New Performing Arts Facilities: Innovative Public & Private Partnerships for the Performing Arts High School Auditoriums: Stephen Friedlander (M), Andrew Burmeister, Adam Bernstein, Adrian Ellis, Why Good Design Matters Carol Ochs Dan Culhane (M), Peter Scheu, Vijay Sehga An open discussion of the methods that the City of New York uses to Audience expectations when attending today¹s high school perfor- develop new arts facility projects, the challenges they face and the mances have been hugely influenced by such popular media as Glee outcomes of the process. and American Idol. As the production needs of secondary education performing arts programs grow, school officials are demanding bet- ter design of their multipurpose auditoriums, as well as more capa- Restoration of Pre-Depression Era Theatres bility in their technical production systems. In this session we discuss what¹s right, and wrong, with the way secondary school auditoria Bill Gorlin (M), Mitchell Kurtz, Francesca Russo are programmed designed, and what should be considered when This panel will explore the blending of the old and the new; the designing or outfitting “just another high school auditorium”. equipment required for current day performances and the physi- cal limitations of a building designed for an earlier time. The panel will address ways to raise the load ratings or older structures while Safety by Design still maintaining to allow for a wide range of performance types. HVAC, power requirements and lighting will also be discussed. Eddie Raymond (M), Scott F. Georgeson, Monona Rossol A performance venue is typically an environment rife with potential hazards. The work is performed under tight schedules, involves the use of unusual structural, mechanical and chemical materials and, Promoting Sustainable Design - just to make it interesting, is often done in the dark. This session Regulatory and Voluntary Approaches explores the potential dangers and provides solutions to consider John Runia (M), Nico Kienzl, Mark Loeffler in the planning and design phases. What’s the impact on theatre design of voluntary and regulatory ap- proaches to sustainability? On the voluntary side, LEED is the front runner. But is it the best approach and are there viable alternatives? The Changing Infrastructure of Performance The regulatory approach has been around at least since ASHRAE 90 Spaces in the Era of Solid State Lighting was adopted. What has been the impact of California’s comprehen- sive new green building code mean for theatre design? Steve Terry (M), Curtis Kasefang, Joel Rubin, Robert Young Power distribution, HVAC, and control networks are all being af- fected by the move from tungsten to solid-state lighting. Infrastruc- ture design decisions are not easily reversible, yet the timing of the Grids, Catwalks, and Aerial Work Platforms: change to solid state lighting is not precisely known. How much Planning for Access to Equipment in the Theater air conditioning? How much power? When can the dimmer room Peter Svitavsky(M), Robert Shook, Glenn Turner be eliminated? These are all questions that theatre designers are Theaters of any size will incorporate equipment that is suspended in grappling with. This panel would seek solutions to these and other the upper reaches of the space. A responsible design must include infrastructure questions. provisions for access to this equipment without undue expense or exposure to risk. In this session we will present the access require- ments for some basic elements of theater design and explore the balance of function and cost for some common solutions.

8 www.nateac.org • 2012 • NATEAC NATEAC Panel Sessions

History of Broadway and Its Theatres: 250+ Years in Stage Lifts/ Edge Safety 60+ Minutes Jules Lauve (M), Cosmo Catalano, Jr., Tanya Gillette, Steve Sweet Robert Long, Scott Crossfield Sponsored by the American Society of Theatre Consultants (ASTC) Efficient Design Ideas for Theatres: How To Do More With Less The Changing Face of Backstage Broadway: Robert Hamilton (M), Virginia Ross, Anne Minors, Katie Oman A Conversation with Local One IATSE This session will feature a learned panel hosting a round-table Paul F. Dean, Jr. (M), Roger Bardwell, Fred Smith discussion of design ideas that can maximize design efficiency for Stagehands offer their insights on the evolution of technology on projects who have modest budgets stage over the last 30 years. Core Values: What Makes a Great Theater? Two Case Studies in the Pacific Rim Josh Dachs (M), David Cromer, Charles Isherwood, Narelle Sissons Craig Gamble, Virginia Ross Today’s theater artists choose to perform in an ever-wider assort- A look at the Bali Theatre, a 1200 seat purpose built theatre in ment of spaces - purpose built theaters, adapted buildings, and Gianyar and the Q Theatre, a 350-450 seat variable format venue in found spaces. As the definition of theater space continues to evolve Auckland NZ. along with the art form it contains, and as technology, commerce, and economic pressures impact artistic desires, recalling what it is about theater space itself that we truly value becomes increas- ingly important. Theater Consultant Joshua Dachs, director David What is That Seat Worth? The Relationship of the Cromer, NY Times Drama Critic Charles Isherwood, and scenic de- Audience Experience in the Venue and Revenue. signer Narelle Sissons will discuss key experiences they have had in Adam Shalleck (M), Duncan Webb, Steven Roth their lives that have inspired them and shaped their thinking, and As planners and designers of performance venues, we owe it to our what their own core values for theater space actually are. The hope Clients to deliver not only a great looking and functioning building, is to foster an ongoing dialogue about we value most in the design but one that fulfills the intrinsic need to make sure it’s filled with of theater spaces. audiences over time: a building’s success is measured also by its Owner’s success. ADA 2012: Reviewing the 2010 Standards and Their Impact on Our Industry Adaptable Acoustics in Performance Scott Crossfield (M), Kristi J. (Thomas) Avalos, Michael K. Maag and Rehearsal Spaces The very popular NATEAC 2008 panelists are reunited to Larry Kirkegaard (M), Hugh Hardy, David Kahn, Arthur van Maurik review the recently revised ADA standards and their impact on the A lively discussion of the rationale, techniques and effectiveness of entertainment industry. diverse approaches to making spaces acoustically more suitable for their users. Working With Manufacturers, Manufacturers Repre- sentatives, & Dealers Designing for the Next Ten Years Sonny Sonnenfeld (M), Mark Vassallo, Jonathan Resnick, Bob Lorelli Andy Hayles (M), David Jensen, Susan Feldman Techniques on getting the best products at the best prices. How do we determine what performers, designers, directors and the public will want in a new and constantly changing electronic age? Flat Floor Conversion in Performing Arts Centers Joe Mobilia (M), Mark Blakeman, Duncan Webb, George Shaw - the 1.2 Billion Dollar The ability to quickly convert from audience seating on risers to Renovation. Lessons Learned? a flat floor makes a huge difference in a performing arts center’s Mark Holden (M), Ron Austin, Peter Duffin, Ben Gilmartin, Peter Rosenbaum programming and revenue potential. Case studies will include the A look at the project and the benefits stemming from the monu- Schermerhorn Symphony Center in Nashville and the Tobin Center mental undertaking. in San Antonio. The panel will discuss how flat floor technology impacts a venue’s operations, income, and architecture.

NATEAC • 2012 • www.nateac.org 9 NATEAC Panel Sessions

Building Code Requirements for Entertainment Installations Karl Ruling (M), William Dailey, Shawn Nolan In light of recent events, it is likely and perhaps inevitable that industry standards and codes will continue to be adopted into law. The panel will present a discussion of the state of Building Code re- quirements as they currently affect the entertainment industry. In addition, the panel will discuss possible future legislation; includ- ing providing comment on national and international standards likely to be adopted into law. Midtown

Non-Traditional Spaces for Classical Music Gregory Miller (M), Josh Dachs, Ryan Ingebritsen Although classical music has a long history of being performed in a wide range of venues, most contemporary audiences associate these performances with formal concert halls and opera houses. Recent years, however, have seen the emergence of classical music performances in unlikely spaces ranging from small clubs to cav- ernous open rooms. Audiences have responded to these perfor- mances with enthusiasm and growing attendance, which invites the question: What is it about these spaces that makes them work so well while bearing so little resemblance to more traditional halls? This session will examine that question from the perspective of the performer, audience member, and designer.

Plenary: The Last Word Steve Ehrenberg, Eddie Raymond A discussion for all and thoughts on moving forward

5-6 p.m. Sunday, July 22, Rendezvous Trianon, Hilton

USITT Members and Friends Reception

Join USITT for drinks and hors d’oeuvres 1. New York Hilton before you head to dinner. Unwind with 2. USITT officers and staff and discuss the day. 3. Sardi’s 4. Lincoln Center

10 www.nateac.org • 2012 • NATEAC NATEAC Panelists

Mark Ager Kristi Avalos fluence include Durang vs. Ives, Rosencrantz and Co-founder Stage Technologies Ltd., MSc Kristi J. Avalos is the President/CEO of Acces- Guildenstern are Dead, It’s About Time, and The Robotics. Industrial Automation, Imperial Col- sology, Inc., based outside of , TX. The com- (Re)Cycle Plays Eco-Festival. He hails from Pitts- lege, University, Chartered Engineer and pany has been at the vanguard of accessibility burgh, Pennsylvania and is a graduate of Point Fellow of the IET – Institute of Engineering and compliance and disability related issues for more Park University. Bernstein currently serves on the Technology than 20 years. Accessology provides accessibil- Board of the League of Off-Broadway Theaters After completing a MA in Physics at Oxford Uni- ity assessments to determine compliance with and Producers. versity, Mark spent a short time working on an oil state and federal accessibility standards for proj- rig off Aberdeen, before joining the Royal Shake- ects ranging from your local high school athletic Mark Blakeman speare Company. He became Systems Engineer- field to the now under construction new Dallas Mark A. Blakeman is Vice President and Gen- ing Manager at the Barbican, primarily responsible Cowboys Stadium, from community theater eral Manager of the Nashville Symphony and for the maintenance of one of the first power flying buildings to the Dallas’ award winning American the acclaimed Schermerhorn Symphony Center, systems installed in the UK. After three years work- Airlines Center, from a homeless shelter to Flori- which opened in 2006. He is responsible for ing for an industrial automation company provid- da’s landmark Fontainebleau Resort. In her very producing 140 concerts annually and oversees ing motion control systems, Mark set up Stage entertaining style, she is a national speaker and the Center’s catering operation, as well as their Technologies with John Hastie in 1994. trainer to architects, building owners, property upscale restaurant Arpeggio, a lunchtime café During the early years of Stage Technologies, managers, contractors and real estate brokers on and a robust facility rental business. Mark was directly involved with the development both state and federal accessibility. Ms. Avalos is Resulting from flooding in 2010, Blakeman of the Acrobat control system. He also worked on a primary liaison with the United States Access oversaw a $40 million reconstruction of the the development of a system to allow free rang- Board and other agencies and organizations Center. Working with FEMA, significant changes ing computer-controlled trucks to move to pre- that shape accessibility legislation and trends. were implemented to mitigate future flood plotted positions on the stage. The development She has been sought after and recognized as an damage. The post-flood project was honored of Pathway software was a significant milestone expert witness nationwide on legal cases involv- to receive a 2011 Award of Engineering Excel- in automation technology, allowing an operator ing The Americans With Disabilities Act (ADA) lence from the American Council of Engineering to plot 3-dimensional paths in space. This later and accessibility. Ms. Avalos is certified by the Companies. The Center reopened New Year’s evolved into Stage Technologies Visual Creator International Conference of Building Officials Eve 2010, just eight months after taking on more software, which allows the operator to plot a as an Accessibility Usability Specialist and as a than 5 million gallons of water. 6-degree of freedom path and complex 3-dimen- Registered Accessibility Specialist by the Texas Blakeman oversees all electronic media activi- sional automated moves. Mark has designed radio Department of Licensing and Regulation. ties of the Symphony. During his tenure, they’ve control systems of remote systems (primarily for earned two Emmy nominations, winning one stage trucks) and PLC software and hardware. Roger Bardwell Emmy Award in 2007. They’ve released twenty- He has written a book on automation for Roger Bardwell is the Shop Foreman and Chief two recording projects, earning fourteen Grammy professionals and students and devotes consid- Engineer at Hudson Scenic Studios where he has nominations, winning seven . erable time to promoting the awareness of engi- worked for 25 years. Among the Broadway and Blakeman has taught at Oklahoma City neering as a career, and is involved in the ‘Make touring shows that Hudson has built during his University and Middle Tennessee State Univer- your mark’ campaign that actively promotes en- tenure are: Priscilla, Billy Elliot, Lion King, Mama sity, leading coursework in acoustics, survey of gineering in schools and colleges around the UK. Mia, Phantom of the Opera, Mary Poppins, Chitty popular music and orchestral music and man- Chitty Bang Bang, Les Miserables and Miss Sai- agement. He has served as a clinician at the Ron Austin gon. Roger has also engineered the structure Tennessee, Oklahoma and Texas all-state music As the Executive Director of the Lincoln Cen- and rigging of the Millennium Ball and the two conferences, lecturing on concert production ter Development Project, Ron was responsible subsequent versions that are dropped annually and artist engagement. for overseeing the redevelopment of one of in . the world’s most iconic performance campuses. Roger received a BA in English Literature from Andrew Burmeister Working collaboratively with the renowned de- Harvard University a BS in Mechanical Engineer- Andrew Burmeister serves as the Assistant sign firm of Diller, Scofidio and Renfro, the $1.2 ing from Manhattan College and attended the Commissioner for Capital Projects at New York billion effort was divided into 37 individual proj- Yale School of Drama in Technical Design and City’s Department of Cultural Affairs. He joined ects that ranged from a simple escalator replace- Production. He is a P. E. in New York State, an AWS the DCA in 2005, after ten years in design and ment to the complete gutting and rebuilding of Certified Welding Inspector, and an ETCP Certified construction management in the private sector. the world famous Alice Tully Hall. Working in an Rigger Arena/Theater. He has been a member of Working with Lloyd and Associates Architects environment that required complete unanim- IATSE Local 1 since 1993. He is currently a member and Studio Arquitectura in New Mexico and ity from the 12 resident constituencies coupled of ASME, ASCE, AWS, AISC and ESTA. Eisenman Architects in New York he has collabo- with the mandate that no scheduled event rated on many significant institutional, residential could be affected required a strong set of nego- Adam Bernstein and hospitality projects. Notable among them tiation and collaboration skills. By virtue of being Adam Bernstein has been the General Man- are Club Med World in Paris, the Sandia Pueblo surrounded by a team of 50 very talented direct ager for New York’s Signature Theatre since Church and Sherif Residence in New Mexico, reports as well as 3 of New Yorks finest Construc- 2006 and has worked with the organization and Max Reinhardt Haus (proposed) in Berlin. At tion Managers allowed the unionized workforce since 2003. Producing highlights with Signa- DCA, Andrew’s portfolio has included the Whit- of roughly 5,000 tradesmen to complete the ture include plays by August Wilson, Charles ney Museum High Line project, the theaters at project on time and at a cost significantly less Mee,, Horton Foote, Tony Kushner, Archstone Clinton and Signature Theatre’s new than original budgeted. As funding for the proj- , Katori Hall, Will Eno and Kenneth home. ect was provided by a series of regulatory agen- Lonergan. Bernstein was actively involved in Andrew is also an accomplished fashion and cies including City and State of New York grants the planning of The Pershing Square Signature fine art photographer, with work in the perma- as well as the Federal Transportation Authority Center designed by Frank Gehry which opened nent collections of the Museum of Fine Arts, all of which required the review and approval of in January 2012. Before Signature, he was Gen- Houston and the Worcester Museum of Art. He independent auditors further exemplified the eral Manager for the Blue Heron Arts Center and holds a Bachelor of Arts in Architecture, Art and complexity associated with this endeavor. was the Founding Artistic Director of Confluence Philosophy and Bachelor of Architecture, both Theatre Company. Producing credits with Con- from Rice University.

NATEAC • 2012 • www.nateac.org 11 NATEAC Panelists

Cosmo Catalano, Jr. Dan Culhane and the New York Mets. He is a graduate of Co- Cosmo Catalano, Jr. has served as Technical Dan Culhane is currently the Technical Busi- lumbia College and earned a MBA from the Co- Director or Production Manager at a variety of ness Development Manager at SECOA Inc. Prior lumbia University Graduate School of Business. venues for more than 30 years. After graduat- to this position; he spent eleven years as SECOA’s His company has obtained approvals from the ing from the University of Iowa and the Yale Engineering Manager, responsible for convert- NYC Department of Buildings for Special Events for twenty-five years at venues including Shea School of Drama he has held positions at Penn ing architectural drawings and consultant’s specifications into manufacturing drawings as and Yankee Stadiums, the Lincoln Center, Armory State University, , Pepsico Sum- well as facilitating the design of specific solu- on Park, and MoMA PS1; merfare, Mass Illusion, Pook, Diemont and Ohl, tions to venue specific problems. He is an ETCP obtained approvals for events as varied as Pink and Theatre Projects Consultants. At present, he Certified Rigger for Theatre and Subject Matter Floyd Concerts, a Persian Circus at the Lincoln is the Technical Supervisor at the ‘62 Center for Expert for ETCP. Center, the Royal Shakespeare Company, the Theatre and Dance at Williams College. When Dan is a veteran of the industry. He spent 15 Whitney Bienniale, and over 30 Broadway shows. not in the theatre, he can be found as a volunteer years as a Technical Director working for theaters on the Appalachian Trail in Massachusetts. across the country including the Guthrie Theater, Minneapolis, MN; The Children’s Theatre Company, Paul Dean Minneapolis, MN; StageWest, Springfield, MA and David Cromer Great Lakes Theatre Festival, Cleveland, OH. He Peter Duffin Recent productions include The House of Blue has an MFA in Theatre Technology from the Uni- Mr. Duffin is responsible for strategic planning, Leaves (Broadway), When the Rain Stops Falling versity of Wisconsin, Madison and a BA in Theatre promotion, and management of multi-million (Lincoln Center Theater-2010 Lortel Award), from Southern Illinois University – Carbondale. dollar earned income initiatives at Lincoln and (Williamstown Dan serves on the PLASA Technical Standards Center, as well overseeing the development Theatre Festival and Writers Theatre-.) Program, Rigging Working Group where he is the and communication of Lincoln Center’s brand chairman for the task group writing the standard His production of Nina Raine’s Tribes is currently through a variety of channels, including Lincoln running at the . for Manufactured Electric Chain Hoists for the En- tertainment Industry. He is also a member of the Center’s website. Peter works with his market- He also directed , which ran at The ing colleagues from the various performing arts Barrow Street Theatre (2009 Lortel and Obie Stage Lift Working Group through PLASA which is developing a standard for stage lifts for this organizations across the campus, on the devel- Awards-Direction) and Adding Machine: A industry. Dan also sits on the Board of Directors opment of promotional initiatives including the Musical at Minetta Lane (2008 Lortel and Obie for USITT and is the incoming Treasurer. discount ticketing and visitor center for Lincoln Awards for Direction.) Dan is married to Tree O’Halloran, an Equity Center, a state-of-the-art digital outdoor infor- In Chicago, David directed many award win- Stage Manager. They have two children and live mation landscape, outreach programs, Lincoln ning productions including Picnic, Hot L Balti- in Minneapolis, MN. Center’s website and mobile applications. Mr. more and Cherrywood. David is a 2010 recipient Duffin joined Lincoln Center 15 years ago, hold- of the MacArthur Fellowship. Joshua Dachs ing a number of positions within its marketing Joshua Dachs is principal of Fisher Dachs and communications group and was appointed Scott Crossfield Associates, one of the world’s leading theatre consultancies. He has a background in music Vice President, Brand Management of Lincoln Scott Crossfield is a director in Theatre Projects’ Center in February 2009. Mr. Duffin holds his BA US office. Scott is experienced in all aspects of (violin), a degree in architecture, and has worked in the theater as a set and lighting designer and from Brighton Polytechnic, United Kingdom and the design and construction of performing arts producer. In over 30 years of practice he has an MFA from Rutgers University of New Jersey. facilities, having consulted on over 350 proj- helped plan and design hundreds of success- ects in the United States and abroad. His work ful projects including the Four Seasons Opera includes theatre concept design, planning and House in Toronto, the Mariinsky II Opera House in David Edelstein programming theatre buildings, site assessment, St. Petersburg, the renovation of Lincoln Center’s David Edelstein, founder of Triple E Ltd. trained and participation in feasibility studies. Alice Tully Hall and Juilliard School expansion, at LAMDA as a stage manager. A few of Scott’s projects include: Dr. Phillips the New Guthrie Theater, the transformation He was a member of the stage management Center for the Performing Arts Orlando, FL, Ken- of DC’s Arena Stage, and work at many other team at the National Theatre when it opened in nedy Center Theatre Lab Washington, DC, and regional theaters and universities. He designed 1976, progressing to production management. the acclaimed annual stage installation for the After some years in technical theatre, David Palacio de Belles Artes Mexico City, Mexico Mostly Mozart Festival in Avery Fisher Hall, two Prior to joining Theatre Projects, Scott was a decided that if he was going to work unsocial contemporary classical music festivals and the hours, he wanted it to be for his own business. partner of Davis Crossfield Associates, Theater recent acclaimed NY Philharmonic 360 concert Consulting Services of . At DCA at the Armory. He has collaborated He began by manufacturing the pin-hinges that Scott was responsible for all aspects of theatre with many of the worlds leading architects and subsequently won the ABTT product of the year consulting including programming; auditorium, Pritzker Prize winners. award and set the company on its future path. stage and support space design; seating and He holds a Bachelor of Architecture degree Triple E Limited is now a specialist manufacturer sightlines; code analysis; and technical theatre from . He has been a guest crit- of both automated and manual curtain track equipment design and specification. ic at SCIARC and UCLA schools of architecture, and scenery systems. Since 1998 Triple E has and taught a professional development course designed and, manufactured variable acoustic Scott is the Vice President of the American on Theater Design for Harvard University. He is Society of Theatre Consultants and representa- systems around the world. The Varibanner and a member of the American Society of Theatre the Chaintrack system have been employed in tive to the ICC/ANSI A117.1 Accessible and Us- Consultants (ASTC). Josh’s wife, Ako, is a stage able Buildings and Facilities Committee. In 2011, and film actress. www.fda-online.com multiple venues around the world. This is a grow- Scott was inducted into the Warner Theatre Hall ing area where no two jobs are ever the same but of Fame and currently serves on the Warner’s William Dailey the team at Triple E are always ready for the chal- Board of Corporators. Scott is also a member of William Dailey has worked as a Building Code lenge. David is a former Chairman of the ABTT, the United States Institute of Theater Technol- Consultant since 1985, working for clients in- an enthusiastic petrol head and motorbiker and ogy. He received his Bachelor of Fine Arts degree cluding the 42nd Street Development Project, therefore a Long Reach Long Rider and with his from Carnegie Mellon University. Lincoln Center for the Performing Arts, the Ju- wife Brenda, organiser of the First Night Riders jamcyn, Nederlander and Shubert Organizations in the UK.

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Faithfull’s Seven Deadly Sins, Artistic Director and other cultural spaces. His professional back- Steven Ehrenberg Susan Feldman’s Band in Berlin, ground includes roles as diverse as scenic carpen- Eberg Stage Solutions. and the Coen Brothers’ Theater of the New Ear, The ter, stage manager, rigger, technical manager, tour Where recent projects include Production ’s 4:48 Psychosis, The Wooster manager, welder, stage electrician, operations Management : War Horse First National Tour; Group’s , The Emperor Jones, House/Lights, manager, venue design consultant and nearly Martha Clarke’s Angel Reapers; Donny & Marie To You, The Birdie! (Phèdre), The Globe Theatre’s everything else in between. Christmas (Broadway and touring); and other Measure for Measure, Daniel Kramer’s Woyzeck, Craig has been involved in the development touring projects. Director of Production: The Antony’s Turning, Mabou Mines DollHouse, Lou and delivery of a range of iconic projects includ- Cave with Ensemble Modern; currently - Salomes Reed’s Berlin, Cynthia Hopkins’ Accidental Tril- ing the development of the Australian bench- Envisage an evening of classical piano in a video ogy, Les Freres Corbusier’s Hell House, Druid’s The marks for performing arts centres, the design and environment. Walworth Farce, The New Electric Ballroom, and build of the Bali Safari , Steven began his career while attending Co- Penelope, TR Warszawa’s Macbeth, The National Theatre Company’s new home in Southbank, the lumbia University in New York. A career which has Theatre of Scotland’s Black Watch, Kneehigh The- Melbourne Museum, and the Capital E Children’s included work as a stage manager, stagehand, atre’s Brief Encounter and Enda Walsh’s Misterman Event and Exhibition Centre in Wellington New technical director, technical supervisor and pro- starring Cillian Murphy. Zealand and various other theatres and creative duction manager for Broadway and Off Broad- In April 2004, the committee award- industry spaces. way theatre, opera, events, music and dance ed Susan and St. Ann’s Warehouse with the Ross Craig is a past Committee Member of the Aus- across the world. As VP of Technical Production at Wetzsteon Memorial Award, recognizing 25 years tralian Lighting Industry Association, has guest BASE Entertainment Steven has the opportunity of dedication to and development of new work. lectured at Melbourne and Swinburne Universi- to work on both venue construction and show ties, and has contributed to articles published in Australian Modern, Mondo arc, and CX Technical production. Most recently for Lion King and Scott Fisher the Theatres at Marina Bay Sands Resort in Sin- magazines. gapore. He also served as the technical producer for the Las Vegas Productions of Phantom, Jersey Steven Friedlander Scott Georgeson Boys and Peepshow. Acting as the producer’s With more than 25 years of theatre consulting Scott F. Georgeson, FAIA, NCARB, LEED AP is representative on the construction of the Venues experience, Steven Friedlander is a leader in the an award-winning architect with over 24 years and the installation of the productions. field. He is the Principal in Charge of Auerbach experience designing performing arts centers Previously, as VP of Technical Supervision Pollock Friedlander’s New York office, where he and complex projects throughout North America at Clear Channel then Live Nation theatrical, directs many of the firm’s projects in the U.S., and is currently a Theatre Architect at WorkShop Steven’s responsibilities included technical Europe and the Middle East. He has successfully Architects. Prior experience includes design of oversight for the touring network of Broadway led projects for some of New York’s most pres- the new theatre for Peninsula Players Theatre in Across America and consulting on construction tigious performing arts organizations including: Door County, Wisconsin. Georgeson is a frequent of new buildings and renovations. Prior to work , BAM, , New York presenter on theatre design at the annual con- with SFX/Clear Channel/Live Nation, Steven was City Center, and most recently Signature Theatre. ventions of the United States Institute for Theater the Production Manager for Blue Man Produc- Steve’s consulting practice is backed by more Technology (USITT) and the League of Historic tions during the mounting of their first Las Vegas than 10 years of work as a lighting designer and American Theatres. He is currently running USITT production at Luxor. He also serves on the ETCP production manager, collaborating with ballet, Architectural Commission’s Design Competition Certification Council. opera and theatre companies nationally and for architectural and theatre students. Long an ad- internationally. Adrian Ellis vocate of protecting the environment, his design Mr. Friedlander has lectured at , of Forest Hill Center for the Performing Arts was Adrian Ellis founded AEA Consulting (www. and for a variety of profes- aeaconsulting.com) in 1990, to which he re- one of the first theatres in the country to receive sional organizations throughout his career. He a Silver LEED rating. The project also received cently returned after serving as Executive Direc- received a Bachelor of Fine Arts degree from tor of from 2007 - 2011. design awards from AIA Michigan and Wisconsin. Boston University’s College of Fine Arts where His work on the Schauer Arts and Activity Center AEA specializes in strategic, operational and he has also served on the Dean’s Advisory Board. facilities planning for cultural organizations and received awards from USITT, AIA Wisconsin and Projects include: Boston Conservatory; Brook- the first Presidential Award from the Association in cultural planning for city and regional gov- lyn Academy of Music, Richard B. Fisher Build- ernments. He has worked with performing arts of Licensed Architects. In 1993 he was named an ing, Theatre and Howard Gilman Opera «Emerging Voice» by AIA Wisconsin. clients throughout the United States, Europe, the House; Carnegie Hall, Judy and Arthur Zankel Middle East and Asia. He is resident in New York. Hall, New York, New York; Cyprus Cultural Centre; Emerson College, Cutler Majestic Theatre, Para- Tanya Gillette Susan Feldman mount Theatre Re-use, and Tufte Performance Tanya Gillette (AEA Stage Manager) Broadway Susan Feldman is the founder and Artistic Di- and Production Center, Boston, Massachusetts; credits: Tarzan, Urinetown the Musical, The Cru- rector of St. Ann’s Warehouse (originally Arts at Guggenheim Abu Dhabi; Academy cible. Off-Broadway: Primary Stages. National St. Ann’s). From 1979 to 2000, she oversaw the of Music; Qatar National Convention Centre; The Tours: WarHorse-First National, Mary Poppins-First restoration activities and performing arts series in Pershing Square Signature Theatre, New York, National, Disney’s On the Record, Chicago, Full the National Historic Landmark Church of St. Ann New York; and The Public Theater Renovation, Monty-First National, Aida-First National. Region- and the Holy Trinity in Heights, New York. New York, New York. al: Trinity Rep, Hartford Stage, Huntington Theatre, In 2001, Arts at St. Ann’s re-located to DUMBO and Seattle Rep, San Jose Rep. Graduated from the Conservatory of Theatre at Webster University. established St. Ann’s Warehouse, one of New York Craig Gamble City’s most important cultural destinations, where Craig Gamble is an Associate with Marshall Day it has become home to the American Avant- Entertech, one of ’s leading acoustic and Benjamin Gilmartin Garde and international artists and companies of theatre consultancies. He is currently working on Benjamin Gilmartin, AIA, is a Principal at Diller stature in search of a flexible, European-style New projects across Australia and South East Asia. Scofidio + Renfro, a 100-person interdisciplinary York venue and producing team. Craig has a Bachelor of Arts from the National design studio that integrates the performing arts, Under Feldman’s artistic leadership, St. Ann’s Institute of Dramatic Art and a Diploma of Man- visual arts, and architecture. Mr. Gilmartin joined continues to celebrate the panoramic traditions agement from Swinburne University. An expe- DS+R in 2004 and became Principal in 2011. In of American and world cultures, with forays into rienced project and technical manager special- 2010, Fast Company named Diller Scofidio + a variety of contemporary forms. Among the izing in state-of-the art cultural and performing Renfro the most innovative design practice in the many acclaimed St. Ann’s productions are Lou arts venues, Craig has over thirty years experience profession and among the top 50 most innova- Reed and John Cale’s , Marianne working on stage, in theatres, galleries, museums tive companies in the world. NATEAC • 2012 • www.nateac.org 13 NATEAC Panelists

Ben served as the Project Director for the Prom- 30 secondary school theatres throughout BC and Mark Holden enade Project and the redesign of Alice Tully Hall Alberta. Commercial Theatres include Orpheum Mark Holden joined JaffeHolden in 1978 and at Lincoln Center. Ben currently serves as the Prin- Annex in Vancouver, and Red Robinson & River is Chairman of the firm and Director of Design. In cipal Designer for the Berkeley Art Museum and Rock Casino Theatres. these roles, he serves as the firm’s lead architec- Pacific Film Archive in Berkeley, CA, the Museum Volunteer work includes providing support for tural acoustic designer. In his work, Mark applies of Image and Sound in Rio de Janeiro, Columbia the Long Reach Long Riders in the USA since 2004 his engineering background, experience as a University’s Graduate School of Business School and the First Night Riders in the UK since 2010. professional musician and 26 years of acoustical in New York City, and a new 80-story residential consulting to the creation of superior acoustic tower at Hudson Yards, New York. Hugh Hardy environments. Ben received his M.Arch from the Harvard Hugh Hardy is the founder of H3 Hardy Col- His design philosophy draws from the success- University Graduate School of Design and a dual laboration Architecture, known for design of ful completion of over 100 performance space degree in Architecture and English from the designs. As Principal Designer, Mark ensures that University of California Berkeley. He has been a distinctive new buildings, restoration of historic structures, and planning projects for the public the quality standards of the firm are maintained long-time contributor to the architectural journal on all projects. Some of his ongoing project re- Praxis, and he teaches in the Thesis program at realm. Among his most celebrated projects are: sponsibilities include: the Long Center in Austin, Cornell University College of Architecture, Art, the new New York Botanical Garden Leon Levy Texas and the Bethel Performing Arts Center in and Planning. Visitor Center (Bronx, NY); reconstruction and ad- Bethel, New York. Among his recently completed dition of the Baseball Hall of Fame and Museum projects are: the Cirque du Soliel’s Beatles LOVE Bill Gorlin (Cooperstown, NY); restoration of the Brooklyn show in Las Vegas; Chicago Music and Dance Mr. Gorlin is McLaren Engineering’s Enter- Academy of Music’s façade (Brooklyn, NY); the Theatre; Marion McCaw Performing Arts Center tainment Division Chief. A graduate of Cornell new office of the New York Academy of Sciences in Seattle, Washington; Schuster Performing Arts University engineering (M.Eng(C) and B.S.), he is a at 7 World Trade Center (New York, NY); the new Center in Dayton, Ohio; John F. Kennedy Center Professional Structural Engineer in several states. 12 courtroom United States Courthouse (Jack- Opera House in Washington, DC; RiverCenter for During the past 26 years, he has been in- son, MS); reconstruction of Packer Collegiate the Performing Arts in Columbus, Georgia; Hob- volved in the design of scenic, entertainment Institute’s new school in a nineteenth-century by Center in Houston, Texas; Tokyo International and amusement structures, staging, rigging, James Renwick church (Brooklyn, NY); restora- Forum, in Japan; and the Bass Performance Hall buildings, show action equipment, architectural tion of Radio City Music Hall (New York, NY); and Van Cliburn Recital Hall in Fort Worth, Texas. themeing, sculptures, and other frameworks, na- the new U.S. Customs and Immigration Center Mark’s work in cutting edge museums is high- tionally and worldwide. Among these are reno- at Rainbow Bridge (Niagara Falls, NY); and the lighted in the Experience Music Project (Seattle, vations of the Belasco, Winter Garden, Barrymore, redesign of Bryant Park (New York, NY). Washington) an interactive museum for contem- , and Longacre Theaters; engineering Hardy’s latest national awards include the porary music and the National Museum of the for dozens of Broadway productions; Cirque du 2007 Distinguished Achievement Award in American Indian on the Mall in Washington, D.C. that recently celebrated its grand gala opening. Soleil’s “KA” at the MGM Grand; Sentosa Dancing Theatre Design from the U.S. Institute for Theatre Cranes in Singapore; Kinetic Atrium at the Wynn Technology, the 2001 Placemark Award from Macau; Superbowl 35, 38 & 39 Halftime Shows; the Design History Foundation and the 2000 Ryan Ingebritsen SeaGlass in Battery Park; T-Rex Ani- Commissioner’s Award for Excellence in Public Composer, sound designer, and electronic per- matronic Figure for Toys-R-Us in Times Square; Architecture from the U.S. General Services former Ryan Ingebritsen’s music and sound art Siegfried & Roy at the Mirage; concert tours for focus on the multi-dimensional aspects of sound , , Madonna, Black Administration. In 2004, Hardy created H3 Hardy Collabora- while attaining a degree of clarity and lyricism Eyed Peas, , and U2; Switch Restaurant to permeate and reveal the musical structures at Encore at Wynn Las Vegas. tion Architecture, an outgrowth of Hardy Holz- man Pfeiffer Associates, which he co-founded he creates. His music challenges performers to Mr. Gorlin is a member of the Plasa Rigging extend beyond themselves into the realm of Working Group, including serving as its Per- in 1967. HHPA was preceded by Hugh Hardy & Associates, established in 1962. interaction with visual, electronic, and natural former Flying Task Group chairman; American experience providing audiences a window to Society of Civil Engineers; the Cornell Society of observe our multi-dimensional universe through Engineers; and Structural Engineers Association Andy Hayles the interplay and interaction of sound. of New York. Andy has seventeen years’ experience in A graduate of St. Olaf College and the Univer- theatre consultancy, including two years as a sity of Cincinnati, he won a Fulbright scholarship Robert Hamilton director of Theatre Projects Consultants. He is to Poland where he studied under Zbigniew Mr. Robert Hamilton, Principal, theatre con- Managing Partner of Charcoalblue, which he Bujarski and Marek Choloniewski. He has col- sultant and lighting designer, has worked with co-founded in 2004. The company is widely laborated with and been commissioned by Douglas Welch Design Associates since 1988. regarded as the most exciting and innovative artists such as Todd Reynolds (bang on a can), Mr. Hamilton has a B.A. Honours in Drama from theatre consultancy in the UK. International Contemporary Ensemble, Third the University of Waterloo, an M.F.A. in Theatre Andy also has six years’ experience as a theatre Coast Percussion, Beta Collide, Firewire, Till by Design from the University of British Columbia practitioner, including spells at Sheffield Lyceum, Turring, Gold Sparkle and Stars Like Fleas. As a and a Senior Diploma in Theatre Crafts and Design Theatre Royal, Richmond, the RSC and freelance sound designer and engineer, he has worked from the Banff Centre. He has taught four lighting production work in the West End. with groups such as Grammy award winning courses in the Stagecraft program at Douglas Col- Some of Andy’s past and current projects ensemble eighth blackbird, International Con- lege in New Westminster, BC since 1989. Mr. Ham- include the Royal Shakespeare Theatre Redevel- temporary Ensemble (ICE) and has premiered ilton has been an active member of the Canadian opment and Courtyard Theatre, RSC, Stratford- works by Steve Reich, David Lang, Julia Wolf, Institute for Theatre Technology and the OISTAT upon-Avon; National Theatre Future Project, Michael Gordon, and Steve Mackey. He has de- Architecture Commission and has presented at London (including remodelling of the Cottesloe signed sound for the Tune In festival at the Park many conferences over the years. Theatre); National Theatre Studio, London; Old Avenue Armory including the New York premier Theatre Consulting projects include the more Vic Theatre, Bristol; Liverpool Everyman and of John Luther Adams’ Iniksuit as well as for the than 60 projects, including Chilliwack Cultural Playhouse; Camden Roundhouse, London; Royal 2011 Reich 75th birthday celebration in Millen- Centre, Bell Centre for the Performing Arts, Ed- Court Theatre, Sloane Square; Royal Exchange nium Park. monton Fringe Festival, Capilano College Birch Theatre, Manchester; Theatre, London, Ingebritsen was awarded a 2007 Illinois , Old Auditorium and Frederic Wood The- St Ann’s Warehouse, New York, Steppenwolf Council Fellowship in Composition as well as the atre at UBC, UCFV Chilliwack, North Island College Theatre, Chicago and a new space for Chicago 2010 McKnight Foundations Visiting Composer and Thompson Rivers University, plus more than Shakespeare Theatre. Fellowship. He has also received awards and

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commissions from CEC Artslink, Chicago Com- active in the New York Symphonic Arts Ensemble of Iran (Tehran, Iran), the Mid-East Technical Uni- munity Trust, Chicago Department of Cultural as a trumpet player. He has a Master of Science versity School of Architecture (Ankara, Turkey), Affairs, and the Chicago Composers Forum. in Acoustics from Pennsylvania State University, the Acoustical Society of Japan, the Association and a Bachelor of Science in Engineering from of Lutheran Church Musicians, the League of Charles Isherwood . Historic American Theatres, the U.S. Institute of Charles Isherwood joined Theatre Technology, the Illinois Theatre Associa- as a theater critic in 2004. He served as chief the- Curtis Kasefang tion, the Music Educators’ National Conference, ater critic and theater editor at Variety from 1998 Curtis Kasefang has designed, equipped and the Construction Specifications Writers’ Institute, to 2004. In he worked as a theater operated performance spaces throughout North and the Architectural Schools at Harvard, UCLA, critic and editor at Variety and Daily Variety be- America since 1990. Trained as a theatrical light- Minnesota, Wisconsin, and Illinois. ginning in 1993. Prior to joining Variety he was ing designer, with additional training in sound a columnist and editor at L.A. Style magazine. A system engineering, information technology, Mitchell Kurtz recipient of the 2005 George Jean Nathan award and process modeling, Curtis brings a unique Mitchell Kurtz is an architect that specializes in for theater criticism, he has also written for the skill set to the theatre design process. He is performing arts facilities. His firm has designed Times of London, the Advocate magazine, LA particularly attuned to the impact of decisions numerous professional theaters in New York City Weekly and other publications. on the operation and maintenance of a perfor- including , New mance facility, having worked previously as a Workshop, Signature Theatre, and the Cherry David Jensen production manager and technical director of a Lane Theatre. The firm has just completed a new Director of Production, Inc., multi-theatre complex. scenery and costume shop for New York Theatre New York City. The New42 manages (7) historic Curtis co-founded TCC in 2003. He previously Workshop and is at work on a new theater at the theaters located on 42nd Street, at the Cross- worked for Public Assembly Consultants and Stamford Center for the Arts, rehabilitation and roads of the World. New42 acts as landlords for Theatre Projects Consultants, where he was in- additions to the Amphitheater at the Chautauqua (5) theaters and operates (2), the Duke on 42nd strumental in setting up the lighting and sound Institution, master planning and renovations for La Street and the Drama Desk winning New Vic- departments of the firm’s U.S. office. MaMa ETC, continuing restoration and rehabilita- tory Theater. The , the oldest Curtis spent several years as facility manager tion for the Hecksher Theater at El Museo del Barrio, working theater in NYC, is the premier venue and technical director for the SUNY Purchase’s and assembly place upgrades at the Public Theater. for kids and families in NY. The New42 also op- Performing Arts Center where they hosted 800 erates the New 42nd Street Studios, an 80,000 events per year, as production manager for Jules Lauve sq./ft. building, housing rehearsal studios which Pepsico Summerfare, an international perform- Jules Lauve is a principal consultant in Theatre service the Broadway community. In 11 years as ing arts festival, and as a freelance technical Projects’ US office. His responsibilities include Director of Production, David has overseen the specialist. project management, consultation on theatre presentation of 120+ international companies He served four years as chair of the Raleigh design issues and design of performance equip- in the Duke, Studios and the New Victory and Historic Development Commission. In this role, ment systems and advice on facility management originated/managed $10m+ of capital projects. he has contributed to the City’s comprehensive and operations. Jules has more than thirty years of Prior to joining the New42, David was Techni- plan and uniform development ordinance. He experience in the entertainment industry. He has cal Manager at the Citizens’ Theatre in Glasgow, authored a pair of articles on sustainability that been an entertainment operations manager for Scotland. While at the Citz, David oversaw appeared in Live Design. numerous large-scale projects, and has designed all technical elements for 40+ productions, scenery and lighting for a wide range of produc- including large-scale works at the Edinburgh Nico Kienzl tions including theatre, opera, ballet, and family International Festival. He also completed and As a director of Atelier Ten and leader of its arena tours. commissioned a £3m expansion of the rehearsal global energy analysis practice, Nico consults Jules came to Theatre Projects from Las Vegas facilities, public lobbies and workshops of the on a wide variety of large scale residential, com- where, as Jules Lauve Entertainment, he pro- historic Citizens’ Theatre. mercial and institutional buildings, as well as on duced, managed, and represented entertainment David also consults on touring productions masterplan and renovation work in the United products for numerous clients. He was also direc- and contributes to peer reviews, feasibility stud- States, Europe, and the Middle East. Nico has tor of entertainment for the Treasure Island Casino ies and other budgetary, production, staffing particular experience with the application of ad- Hotel in Las Vegas from before start-up through and capital consulting projects. vanced building analysis for facade optimization, more than six years of daily operations. daylight and shading analysis, and optimization Some of Jules’ recent projects include: AT&T David Kahn of building systems. Performing Arts Center, Winspear Opera House David Kahn, a founding Principal of Acoustic Dallas, TX, City of Dreams, House of Dancing Wa- Dimensions, has spent the last three decades Larry Kirkegaard ters Theatre Cotai Strip, Macau, China, and Palacio entrenched in his craft of seeing to the design Mr. Kirkegaard has consulted on a significant De Bellas Artes Mexico City, Mexico details that create exceptional spaces for concert number of the world’s performing arts facilities Jules was a principal member of the National and recital halls, schools of music, theatre and designed or renovated over the past forty years. Fire Protection Association’s Special Effects Tech- dance performance halls, places of worship and He has been a pioneering figure in the field of nical Committee responsible for NFPA standards multi-use performance halls. David has provided 160 and 1126. He holds degrees from the Univer- design direction on many successful projects architectural acoustics, helping to redefine the relationship between music and architecture sity of Southern California and Stephen F. Austin for clients such as: Columbus Association for State University. Performing Arts (CAPA), Buffalo Philharmonic, - achievements recognized by the Acoustical Manhattan School of Music, Broadway Com- Society of America, American Institute of Archi- pany of «Rent», St. Paul Chamber Orchestra and tects, United States Institute for Theatre Technol- Mark Loeffler Woolly Mammoth Theatre. Other notable proj- ogy, and conductors and musicians around the A director of Atelier Ten and head of the New ects include the Cowles Center in Minneapolis, world. His liberal arts background, musical inter- Haven office, Mark is an accomplished lighting The Manitoba Centennial Center in Winnipeg ests, architectural training and extensive con- and environmental designer. Emphasizing inte- Canada, numerous historic preservation venues, struction experience provide a comprehensive grated and resourceful design to enhance the and University-based performing arts centers. basis for his consulting practice; a philosophy visual experience of buildings, he has lectured David is on the faculty of Yale University in the of approach that has defined the relationship widely and consulted on many significant green graduate school of drama. He is also a visiting between the firm and its clients since 1976. building projects both in the United States and lecturer at the New Jersey Institute of Technol- He has lectured internationally before a wide abroad. Mark started his career as a theatre ogy. David brings a musician’s ear to all of the variety of groups including the International lighting designer and has consulted on many performance facilities he designs. He is currently Congress on Acoustics, the Acoustical Society performing arts projects. NATEAC • 2012 • www.nateac.org 15 NATEAC Panelists

Robert Long Michael Maag out the planning, budgeting, design and con- In over 25 years of practice as a theatre con- Michael K. Maag is the Lighting Department struction process, her management style values sultant, Robert Long has been involved in the Manager at the Oregon Shakespeare Festival. and fosters a collaborative environment marked programming, planning and design of virtually Michael is also the chief automated lighting pro- by open communication, trust and shared vision. every type of building for the performing arts. His grammer and visualist at OSF. Michael currently Her skilled approach, including excellent com- extensive experience encompasses performance performs improvisational video with the group munication and organizational skills, ensures a spaces for drama, music and dance, ranging from Sonoluminescence. Before his 9 years at the OSF deeply collaborative relationship with client and initial planning studies to the completion of major he was the Master Electrician at Seattle Reper- consultant team, resulting in timely, efficient and performing arts centers, and includes professional tory Theatre and a freelance lighting designer. successful project delivery. as well as educational facilities. Michael has worked as a lighting designer, Ms. McGowan received a Bachelor of Arts Robert began his theatre consulting career in master electrician, programmer, visualist, and degree from University of Pennsylvania and a the office of George C. Izenour. He subsequently pyrotechnician from Florida to Washington Master of Architecture degree from Columbia spent two years as a theatre planner with Artec and just about everywhere in between.He is a University. She is a member of the American Consultants, specializing in stage lighting and rig- member of the United States Institute of Theatre Institute of Architects. ging system design. For three seasons, he was a Technology, and IATSE Local #15. Michael holds member of the stage production department of a BS in Technical Theatre from the University of Gregory Miller The Juilliard School at Lincoln Center. Northern Colorado. Gregory Miller is one of the founding Princi- Before co-founding Theatre Consultants Col- In August of 2003 Michael was training for a pals of Chicago-based Pin Drop Acoustics, with laborative in 2003, Robert was a principal consul- bicycle race in rural Oregon and was struck by a more than fifteen years of acoustics design ex- tant with Theatre Projects Consultants - the first car. A spinal cord injury at T-9 vertebrae has left perience. Over his career, Greg has developed a American employed by the firm - where he played him paralyzed. He now gets to work with wheels keen understanding of the ways that sound can a key role in the development of many of TPC’s under him all the time. Michael was an early re- help connect people to one another. His per- projects during his twenty-one year association. cipient of a grant from Behind the Scenes. They formance space designs reflect this understand- Recent experience includes the Kenan Music contributed to Michael’s motorized wheelchair, ing, fostering an intimate connection between Building for the University of North Carolina at Cha- which he gratefully uses like the smallest electric performer and audience while also providing a pel Hill; the Puerto Rico Conservatory of Music in car in town. sense-of-space that is the unique to the experi- San Juan; the new Durham Performing Arts Center; ence of live performance. and, a new studio theatre for KLRU-TV’s Austin City Andy McArthur Greg’s current work includes renovations Limits. Robert is also providing on-going institu- Andy McArthur serves as Sales Manager for to the Geva Theatre Center in Rochester, the tional planning services for the Lower Manhattan J. R. Clancy, North America’s oldest theatrical McAninch Arts Center outside of Chicago, and Development Corporation for the World Trade rigging business, with overall supervision of College Church in Wheaton, and the design of Center Ground Zero Cultural Program. Clancy’s worldwide sales efforts. Mr. McArthur’s the new Auditorium at PNC Tower in Pittsburgh. Robert is a member and former president of role marks a return to Clancy where he served as Prior to founding Pin Drop, Greg was the acous- the American Society of Theatre Consultants. Senior Project Manager in the 1990’s. Prior to his tics department manager at Talaske, where he He holds an MFA degree from the Yale School of return to Clancy, Mr. McArthur was president of managed the design of the Guthrie Theater in Drama. He currently teaches at the University of ECCS, Inc., where he served as principal consul- Minneapolis, the Harman Center for the Arts in North Carolina. tant or Lead Project Manager on projects includ- Washington DC, Wentz Concert Hall near Chi- ing: The Smith Center for the Performing Arts, the cago, and Playhouse on the Square in Memphis. Robert Lorelli showroom at Beau Rivage Hotel and Casino in After developing an early love for acoustics Robert A. Lorelli is the president of Robert Lo- Biloxi, Mississippi; Copley Symphony Hall in San by playing the violin in different halls around the relli Associates, Inc. He is a Mechanical Engineer Diego; St. Elizabeth Ann Seton Roman Catholic Baltimore area, Greg studied mechanical engi- and has a diversified backgrounds in theater. Church in Las Vegas; Val A. Browning Center for neering at The . Greg has applied this combined for both the subjective He worked as a Chief Engineer for the Joe Vas- the Performing Arts in Ogden, Utah; and many others. McArthur is an ETCP certified rigging and scientific aspects of acoustics to over 400 concellas Company, one of the largest theater professional, a member of IATSE Local 9, and he projects worldwide. equipment manufacturers in the world. There served on the board of directors of the Las Vegas he was responsible for the design, manufacture Performing Arts Center. Anne Minors and installation of various theatrical equipment Anne has designed over 100 rooms for con- systems and movable structures for performing Molly McGowan certs, opera and theatre over the last 27 years. arts facilities throughout the world. He was also Molly McGowan is an Associate Partner in As a theatre consultant and subsequently the Director of Operations for New York City Cen- Ennead Architects, an internationally-acclaimed, head of design at Theatre Projects Consultants ter of Music and Drama. 170-person NYC studio known as one of the between 1984-95, Anne was instrumental in a In 1991, he established Robert Lorelli Associ- nation’s preeminent designers of spaces for the number of national and international projects in- ates, Inc. after being a partner in the firm of Bran- performing arts, including Carnegie Hall, New cluding - Cerritos Centre for the Performing Arts, nigan • Lorelli Associates, Inc. for 25 years. Among York City Center, The Public Theater and Samuel Los Angeles; Glyndebourne Opera House; Chan Centre, Vancouver; Escondido Centre for the his firm’s projects are: The North York Performing J. Friedman Theatre for Club. Ms. McGowan has served as Project Manager Performing Arts, California; Walt Disney Concert Arts Centre - North York, Canada, The University for many of the firm’s complex projects for per- Hall, LA; Lowry Centre, Salford and Singapore of Florida Performing Arts Center -Gainesville, forming arts, media and technology facilities, Arts Centre. Florida; The Carolina Theatre - Durham, North including the Yale School of Drama / Yale Reper- Anne Minors Performance Consultants (AMPC) Carolina; Auditorio de Convenciones - Tuxtla, tory Theater Site Capacity Study; New York Uni- was founded in 1996 after being invited to carry Mexico; Okaloosa • Walton Community College versity Tisch School of the Arts, Institute of Per- out the role of in-house theatre design consultant Instructional Arts Center - Niceville, Florida; Place forming Arts Master Plan and Concept Design; to the , Covent Garden and des Arts - Montreal, Quebec; Saratoga Perform- Allegheny College Vukovich Center for Com- Dixon Jones BDP architects. Other key AMPC Proj- ing Arts Center, Saratoga, New York; Benedum munication Arts and WGBH Public Broadcasting ects have included – The Barbican Theatre Refur- bishment; Palace of Peace Opera House, Kazakh- Center for the Performing Arts - Pittsburgh, Station Headquarters. The essential relationship between project management and ultimate stan; Royal Conservatory of Music, Toronto; The Pennsylvania; Carnegie Hall - New York, New York project success has always been central to Ms. Egg Children’s Theatre, Bath, Garsington Opera and The Performing Arts Complex for American McGowan’s approach to architecture. Through- Pavilion at the Wormsley Estate and the feasibility University - Cairo, Egypt. study for the RSC’s Courtyard Theatre.

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Anne is past-Chairman of the Society of The- 1998, the Project was honored with one of the cant arts buildings in throughout the world. Mr atre Consultants where she helped instigate inaugural Coming Up Taller Awards presented by Pilbrow was the first British lighting designer the creation of a professional qualification for the President’s Committee on the Arts and the to design the lighting for a Broadway musical, Theatre Consultants – MA Theatre Consulting Humanities. The first Coming Up Taller Awards . On Broadway he was lighting designer at the University of Warwick for which Anne is recognized ten mentoring programs from for Rosencrantz & Guildenstern Are Dead, The also a founder member. Anne also organises a throughout the country and grew from a nation- Rothchilds, Four Baboons Adoring The Sun (Tony children’s’ summer club in London to promote al report examining exemplary community arts Award nomination), the Hal Prince hit revival of the arts among young people. programs serving at-risk youth. Her most recent (, Outer Circle Crit- accomplishment at The Project was ics Award-lighting), and the Cy Coleman musical Joe Mobilia the completion of a $20 million dollar capital (Tony Award nomination). He was light- Joe Mobilia has a degree in Visual and Environ- campaign and construction of a brand new the- ing designer for Our Town with Paul Newman mental Studies from Harvard University. He had ater and home for the kids of Hell’s Kitchen. Carol on Broadway and hi-definition video for PBS; been designing scenery when he joined Fisher came to the Project from Lincoln Center Theater ’s Sleeping Beauty at the Dachs Associates in 1977. As head of FDA’s rig- where she worked for five years as assistant (with Dawn Chiang), and ging and stage machinery department, Joe has general manager. Previously, she was director of A Tale of Two Cities (2008 Drama Desk Award worked on every FDA project: over 500 in his marketing and development for the Ark Theater nomination.) Most recently, Molly Sweeney and 35 year career, including multipurpose theatres, Company of Soho. She holds an MFA in Theater Dancing at Lughnasa by Brian Friel at the Irish concert halls, road houses, amphitheaters, and Management from the Yale School of Drama and Repertory Theatre with Michael Gottlieb. cruise ships. A measure of Joe’s longevity is that has taught there. She is a board member of the Published in 1970, his book, STAGE LIGHTING, 30 years ago he worked on the Broward Center Human Arts Association, of ART/NY and has sat foreword by Lord Olivier, became a standard in- for the Performing Arts, and he is now working on the Nancy Quinn Fund and NYC Department ternational text, also published in China. STAGE on its renovation. Joe is also a project manager of Cultural Affairs grants panels. LIGHTING DESIGN, THE ART, THE CRAFT, THE at FDA. Projects include civic centers such as the LIFE, foreword by Hal Prince, was published in New Jersey Performing Arts Center and the Okla- Katie Oman 1997. In 2003 Mr. Pilbrow co-authored (with homa City Civic Center Music Hall, and a number Katie is a consultant with over ten years’ ex- Patricia MacKay) THE WALT DISNEY CONCERT of historic theatre renovations - his favorite being perience in strategic planning, performing arts HALL — THE BACKSTAGE STORY. In 2006 he con- Radio City Music Hall. Joe returned to Harvard facilities programming, project management, and tributed the chapter on auditorium design to as the principal consultant for Farkas Hall, the consulting for public, private, domestic, and inter- Building Type Basics for Performing Arts Facilities renovated and reconstructed Hasty Pudding national projects. Katie’s clients include Lincoln published by Wiley & Sons. In 2011, his book, A Theatre; this joins college and university projects Center for the Performing Arts, Seattle Repertory THEATRE PROJECT was published, both in print, at Georgetown, Princeton, Wellesley, Western Theatre, the National Music Center of Canada, and and as an interactive eBook. Connecticut State University, and the University Reed College. Her experience includes extensive In 2005 Richard was honored as Lighting of Northern Iowa. Joe is pleased to have been work on green design and planning, with a special Designer of the Year by Lighting Dimensions FDA’s project manager for the recently com- emphasis on ecologically sustainable building for magazine. He was named as one of the ten vi- pleted Claire Tow Theatre at Lincoln Center. He arts and culture. Katie leads the west coast office sionaries, who were the most influential people is a member of the American Society of Theatre of Fisher Dachs Associates. in the world of visual design for live events. In Consultants. She is a skilled project manager with deep ex- 2010 LiveDesign voted Richard «one of the 50 perience generating consensus among diverse most powerful people in the entertainment technology industry.» In 2011, Richard was Shawn Nolan constituencies, managing complex planning processes, and advancing large projects to meet honored with the 4th Knights of Illumination Shawn started his 30+ year career in technical Lifetime Recognition Award. In 2012 he was also theatre and became a Licensed Engineer in 2001. time and cost goals. Her experience facilitating teams and making unfamiliar ideas palatable to awarded the Southeastern Theatre Conference He founded ESG in 2001 and NES in 2008, pro- 2012 Distinguished Career Award. viding engineering services for entertainment. stakeholder groups makes her an ideal collabo- Engineering work has included theatre building rator. She has experience in architectural design, analysis (Broadway & beyond); structures for the performing arts management, fundraising, and Eddie Raymond X-Games and outdoor roof supporting 200,000+ sustainable building, all of which inform her Eddie Raymond is the Vice President of IATSE pounds. Structural and mechanical engineering consulting practice. Local 16 and currently employed by the local as includes projects for Brown United, Cirque du Katie holds a degree in Architecture from an assistant to the Business Agent with a primary Soleil, J.R. Clancy, FTSI, H&H, I. Weiss, Mountain and is a LEED-accredited focus on training and organizing. His career has Productions, Sapsis Rigging, Secoa, Serapid, professional and a Certified Sustainable Build- included working for the American Conserva- Stage Technologies and many others. Projects ing Advisor. She loves dogs, cooking, wooden tory Theater as well as variety of other employ- have included conventional and automated rig- boats, adaptive reuse, and Gantt charts. Despite ers including many stints at Industrial Light and ging, effects, grids, hoist design and extensive a demonstrated inability to sing, she is the Vice Magic. He is Chairman of PLASA operating in the aluminum analysis. He has worked with PLASA President and Development Chair of Seattle Pro North American region and on the ETCP Certifi- to develop ANSI Standards and on the ETCP Musica, an award-winning choral organization. cation Council. Arena Rigging test. Richard Pilbrow Jonathan Resnick Carol Ochs Richard Pilbrow, Founder of Theatre Projects Jonathan grew up in Pleasantville, NY, at- Carol Ochs has worked in the non-profit Consultants, is one of the world’s leading theatre tended Brown University then worked 11 years theater community for over 25 years. She is cur- design consultants, a stage lighting designer and in the news business at WLNE, WBZ-TV rently the executive director of The 52nd Street author. He has been a theatre, film and televi- in Boston and was the original News Editor for Project, a position she has held for the last 20 sion producer. He founded Theatre Projects in the CNBC network. Jonathan officially joined the years. The 52nd Street Project is an organization London in 1957. Under his leadership, Theatre family business at Barbizon late in 1990. During that brings inner-city children together with Projects has become the pre-eminent theatre his tenure Barbizon’s entertainment and archi- professional theater artists to create theater. consulting organization in the world. tectural lighting sales, distribution, and installa- With the Project, Carol has produced hundreds Pilbrow was chosen by to be tion operations has grown to 14 offices on four of plays with hundred of volunteer artists such as theatre consultant to the continents. In 1999, he instituted an Employee Frances McDormand, James McDaniel, Charles of Great Britain. He was also consultant to the Stock Ownership Plan in the company which Fuller, Billy Crudup, and . In October Royal Shakespeare Company; The Royal Opera gave the employees of the Barbizon Lighting House, Covent Garden; and many other signifi- Company, ten percent ownership. Barbizon

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distributes over 500 manufacturers and stocks He is a member of the American Society of and optimize occupancy. Pricing Institute part- 20,000 products for same day or overnight ser- Theatre Consultants (ASTC) and United Scenic ners have conducted close to 300 pricing studies vice. Barbizon Systems Integration team of over Artists, Local 829, and is a founding member of worldwide. 65 people, are responsible for the installation of the Boston Alliance of Theatrical Artists. David Steven teaches Customer Relationship Mar- lighting and control systems, rigging, project received his Master of Fine Arts and Bachelor of keting (CRM) at the Boston University Graduate management and design build for Theater, Tele- Fine Arts degrees from Boston University. vision, Houses of Worship, Retail, Architectual School of management, and has co-authored and Themed environments. three studies on CRM published by the Direct Virginia Ross Marketing Association. He is a frequent speaker Jonathan is an avid soccer coach/player and Virginia Ross is a Director of Williams Ross really wishes he had the talent of Lionel Messi. Architects in Melbourne, Australia. Williams at industry conferences, has been a guest lec- Ross have designed and built over 20 theatres turer at the numerous colleges and universities. Peter Rosenbaum in Australia and New Zealand and investigated Steven is Board Chair of ArtsBoston, a Peter, who joined FDA in 1994, is both a de- feasibility and master plans for many more. The 170-member audience development organi- signer and project manager with a wide range Drum Theatre, Melbourne, and the Oamaru Op- zation. He began his career as the Marketing of completed projects including experimental era House redevelopment in New Zealand have Director of , where he theaters, cruise ships and more conventional received Institute of Architects Awards for public oversaw marketing efforts in all Shubert houses, performing arts centers. Most notable is his architecture and heritage in each country. managed subscription series in four cities, and work on special projects that require flexibility Virginia is co-author of the Australian design was part of the team that developed Tele-Charge. in thinking and a broad range of knowledge to and technical benchmarks for performing meet unexpected challenges. arts centres, a theatre design reference used Steven earned a B.A. in English and Theater Recently completed is the renovation of both throughout Australia. She leads theatre design from Oberlin College and an M.B.A. with high Alice Tully Hall and The Juilliard School at Lincoln at Williams Ross specialising in master planning honors from Boston University. Center in New York City with Diller Scofidio + and functional design briefs. In 2011 she was a Renfro in collaboration with FXFOWLE Archi- jury member for the Prague Quadrennial Theatre Joel Rubin tects, the new Lincoln Center Film Society the- Architecture Competition. She is particularly in- Joel Rubin brings to consulting projects both atres with Rockwell Group, and the Experimental terested in contemporary theatre forms. extensive experience in project management Media and Performing Arts Center (EMPAC) at She is currently studying professional writing and specialist knowledge in the fields of the- Rensselaer, with Grimshaw. and editing. atre planning, the accommodation and design Current work includes project management Virginia was born in New Zealand and de- of specialized theatrical equipment, as well as for the Park Avenue Armory with Herzog and buted on the repertory theatre stage at 18 architectural lighting, and lighting control. Dr. de Meuron, the Smithsonian National Museum months, but declined to read the reviews. Her Rubin’s earlier work as Executive Vice-President of African American History and Culture with stage career peaked early at ten, when she was of the famous Kliegl Bros. Lighting and subse- Adjaye, and the new Sylvan Amphitheatre at banished to the orchestra pit. She knows noth- quently over a decade as Principal Consultant, the Washington Monument Grounds with Weiss ing about rugby but is learning a lot about sheep Project Manager and Managing Director of Artec Manfredi. since getting a flock of six black-faced Suffolks. Consultants provides him with unique experi- Other ongoing projects include work at Co- ence in the consulting discipline. Joel E. Rubin lumbia University with Renzo Piano Building Monona Rossol & Associates as a full-service consulting firm was Workshop and Davis Brody Bond. Monona Rossol is a Chemist and Industrial established in 2005. Peter received his B.A. magna cum laude at Hygienist with a speciality in the arts. She holds Dr. Rubin holds the B.S. Degree in Engineer- Harvard in Visual and Environmental Studies (ar- three degrees from the University of Wisconsin - ing from Case Western University, an MFA from chitectural design) and his M.A in Architecture Madison: a BS in Chemistry with a Minor in Math; the Yale School of Drama, and the Ph.D. in En- from Columbia University. He is also an Associate and MS and MFA degrees in Art with a Minor in gineering and Theatre from . of the AIA. Music. Born into a Vaudeville family, her over 70 He is the co-founder and a Past President of the years of theatrical experience includes: variety United States Institute for Theatre Technology David Rosenburg performer from ages 3 to 17; College operas, (USITT) and Founding Chair and Chair Emeritus David H. Rosenburg is a director in Theatre musicals and recitals; summer stock and civic of its International Commission. He was the Projects’ US office. His responsibilities include opera performances in the Midwest; and Off United States Representative and founding project management and the coordination of and Off-Off Broadway and in NYC. Since member of the International Organization of design and production equipment issues with 1977, her day job has been Industrial Hygiene. In Scenographers, Theatre Architects, and Theatre clients, architects, design team members, con- 1986, she founded the nonprofit: Arts, Crafts & Technicians (OISTAT), the UNESCO-related inter- tractors, and manufacturers. Theater Safety (ACTS). In 1995, Monona also be- national organization with national centers in 35 Recent projects include: came the Safety Officer for Local USA829, IATSE. countries; and served for eight years as President • Cobb Energy Performing Arts Centre Atlanta, GA She has written 9 books including the Health & of that organization. • James Madison University Center for the Arts Safety Guide for Film, TV & Theater. Her work for Awards and Honors include the Annual USITT Harrisburg, VA ACTS has included OSHA/EPA compliance and Founders Award given in his name. He holds • Walt Disney Concert Hall, Los Angeles Music industrial ventilation specifications for over 50 the Gold Key of the OISTAT. He is a Fellow of the Center Los Angeles, CA performance and fine arts buildings country- College of Fellows of the American Theatre, the David has an extensive background as a wide. She is frequently retained as an expert wit- American Educational Theatre Association, and theatre lighting designer, technical director ness including by the US Department of Labor to the United States Institute for Theatre Technol- and stage manager. For fifteen years he toured defend a contested OSHA fall protection citation ogy where he is also Lifetime Honorary Member. worldwide with a number of prominent dance of a theatrical company and by the Defense for His biographical profile appears in Who’s Who companies. Some of his lighting designs can be the Rhode Island fire pyrotechnician. in America. Dr. Rubin is co-author of Theatrical seen in the repertories of The Ameri- Lighting Practice, and he is the author of The can Dance Theatre, Donald Byrd/The Group, Technical Development of Electric Stage Light- Steven Roth ing Apparatus in the American Theatre, which The Dance Exchange, Le Conservatoire National Steven Roth is President of The Pricing Insti- Superior de Paris, Atlanta Ballet, and Oregon is considered a standard reference. He has also Ballet Theatre. He also designed the lighting for tute, an international consultancy servicing the authored or co-authored several score articles the premiere of the highly acclaimed Harlem cultural sector. The Pricing Institute uses data- on theatre architecture and technical theatre Nutcracker for Donald Byrd. driven analysis to help clients maximize income appearing in a wide range of international publications.

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Karl Ruling theatrical production equipment and systems. Associates, to which he would return for another Karl G. Ruling is the Technical Standards Peter is also a Theatre Rigging Subject Matter 14 years. He became a licensed architect and Manager for PLASA, the international trade as- Expert for the ETCP. Prior to 2001, he served for Principal along the way and spent the entirety of sociation for the live entertainment industry. He 12 years as a Project Manager and Systems and his career equally steeped in the conception, de- administers PLASA’s ANSI-accredited Technical Equipment Designer at JR Clancy, where he di- sign and implementation of auditoria and other Standards Program and writes about standards, rected the design, manufacture, and installation performing arts and entertainment spaces, and legislation, technical issues, and trade shows for of stage equipment systems in hundreds of ven- technical production systems. Protocol and Standards News. When time per- ues large and small. During that time, he was also Adam founded The Shalleck Collaborative mits, he designs lighting, scenery, and special involved in the design and installation of Concert in 2003, and has since worked on nearly 150 effects for theatrical events, and edits English Shells, Orchestra Lifts, Adjustable Acoustics, and projects of all scales and types. He also serves on translations of foreign standards and lighting re- Stage Lighting Systems. Prior to 1989, he was the the Advisory Board of the Virginia Tech School of search papers. Ruling holds an Master of Fine Arts Special Events Manager at Architecture + Design (his alma mater) and has degree from the University of Illinois at Urbana- and the Production Manager at an IATSE Scene authored articles and presented at several con- Champaign, and a Bachelor of Arts degree from Shop in Syracuse, NY. He also served as Techni- ferences including NATEAC 2008. the University of California at Santa Barbara with cal Director and Production Stage Manager for majors in Dramatic Art and Psychology. He is a the Indianapolis Opera, Opera Memphis, and George Shaw member of the Illuminating Engineering Society the Syracuse Opera, provided the lighting de- George Shaw is a Partner at LMN Architects, signs for many regional opera productions and of North America, the National Fire Protection a Seattle design firm focused on architecture, Association, and the United States Institute for supervised the construction, rental, and touring Theatre Technology. of opera scenery. interiors and urban design. He is responsible for leadership of selected public facility projects John Runia Vijay Sehgal in addition to overall strategic direction of firm activities. With a strong emphasis on performing A theatre designer and partner in Theatre Vijay Sehgal AIA is a registered architect with arts programs, he regularly manages large team Projects Consultants, John has worked on a wide the State of California and received his Master of collaborations with particular attention to devel- range of performing arts facilities in the past sev- Architecture Degree from UCLA and his Bach- elor of Architecture Degree from Chandigarh opment of the architectural design and techni- eral decades. With a degree in architectural sci- College of Architecture, Chandigarh, India. Vijay cal systems as critical aspects of performing arts ence and LEED AP credential John is interested has been involved in the profession of architec- programs and multi-purpose functionality. LMN’s in the process of how to create better facilities ture for more than 20 years and has extensive 100-person architectural design practice is con- that give arts groups the most for their money. national and international design and construc- tinually engaged with the integration of public tion experience on educational, cultural, arts and entertainment projects facility programs with the broader public realm Francesca Russo experience, and the firm has designed more than Francesca Russo Architect directs a small Much of Vijay’s professional career has involved creative design firm, providing clients with the design and construction of performing arts 40 performing arts projects in 23 cities across the professional services for new and existing build- theatres in educational, civic and entertain- nation. Examples of current projects include the ings. With a portfolio of built work ranging from ment settings for public agencies, educational Tobin Center for the Performing Arts in San An- multi-million dollar to smaller budget projects, institutions, non-profits and private clients. Also, tonio, the San Francisco City College Performing the firm is well versed in detailing, sensitive to Vijay has served as FSY’s in-house acoustician for Arts Center and the University of Iowa’s School of client needs and experienced in projects for res- some of its cultural facilities. He has designed the Music. George received his architectural educa- toration and new construction. variable acoustics systems for the Lincoln High tion at the University of California, Berkeley, and School Performing Arts Theatre, Shady Side FRA was the restoration architect for the re- is the immediate past President of AIA Seattle. cent interior restoration of the . Academy, Washington Boulevard Performing Prior to that, the firm provided architectural Arts Center, Boston Court Theatre and Recital services for twelve additional historic theatres Hall, Old Town Temecula Community Theatre, Robert Shook including the Belasco, Barrymore, Winter Garden the Orange County High School of the Arts, San Robert Shook is a founding partner in the and Music Box Theatres. Several of the projects Jacinto High School Theatre and the Welker Re- Chicago office of Schuler Shook. He began have received awards. The shared goal of these cital Hall. Currently, he is directing work on the Saugus High School Performing Arts Theatre and his career as a theatre lighting designer and projects was to develop restoration plans for designed over 180 productions for theatre com- the theatres while responding to contemporary the Vision Theatre/Manchester Jr. Arts Center, production needs. The firm also provided ser- both located in Southern California. panies such as Goodman, Steppenwolf, Victory vices for modification and additions to Studio 54 Vijay’s commitment to «green» building runs Gardens, Chicago Shakespeare, Milwaukee Rep, including the design of an innovative orchestra deep within his philosophy of maintaining and and Indiana Rep. He founded Schuler Shook platform system that provides seating for both creating a healthy living environment for future with Duane Schuler in 1986, and the company traditional theatre and cabaret use. generations. He currently serves on the execu- now has offices in Chicago, Minneapolis, Dallas, The firm’s current projects include the interior tive board of the American Institute of Architects, and Melbourne. Among his favorite projects restoration of the classic , several Pasadena and Foothill Chapter and the South are the David H. Koch Theatre in Lincoln Center, residential projects, an artists’ studio and con- Pasadena Education Foundation, and is a mem- ber of the UCLA Alumni Association, Southern Marion Oliver McCaw Hall in Seattle, Hamer Hall tinued phases of restoration for a 19th Century in Melbourne, and Ravinia Festival, Pritzker Pavil- Carpenter Gothic Church for community use. California Development Forum, National Trust of Historic Preservation, Los Angeles Conservancy, ion, Victory Gardens Theater, Lookingglass The- Urban Land Institute and Asian American Archi- atre, and the Old Town School of Folk Music in Peter Scheu tects and Engineers. Chicago. He has presented numerous seminars Peter Scheu has over 30 years of varied experi- ence in the technical theatre industry, and since for USITT, International Theatre Engineering and opening Scheu Consulting Services in 2001 Adam Shalleck Architecture Conference, North American The- has consulted on several dozen high schools, Adam is nearing 25 years of theatre consult- atre Engineering and Architecture Conference, university, and professional venues. A member ing, coming from an education in architecture Theatre Communications Group, and the IAVM of the ASTC and USITT, he also serves on several coupled with work in technical theatre. He spent Performing Arts Managers Conference. He is on committees within PLASA’s Technical Standards a summer at ARTEC Consultants in 1989 after a the Advisory Board of the North American The- Program, working to develop ANSI standards for year-long internship with S. Leonard Auerbach & atre Engineering and Architecture Conference.

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Narelle Sissons tions, NYC; Cirque du Soleil at Bellagio, Las Vegas Steve Sweet Ms Sissons, originally from Britain, has worked NV and Radio City Music Hall. Steve has worked in various fields of the enter- with many distinguished directors such as As a theatre technician he has worked on hun- tainment industry for over 20 years. He began his Lee Breuer, David Schweizer, Moises Kaufman, dreds of Broadway shows since 1982. career as a performer doing five national tours with Bartlett Sher, Leigh Silverman, Mladen Kiselov, VEE Corporation. Steve’s technical background is Susan Shulman and . Her Sonny Sonnenfeld in rigging. He has worked as a freelance rigging work has been produced at many venues from Sonny Sonnenfeld has been engaged as a installer and has installed equipment manufac- non-traditional site specific spaces to classic na- professional in the theater lighting field since tured by SECOA, JR Clancy, and Custom Rigging tional and international venues. he got out of the army in 1945. He started with Systems. He has been an ETCP certified theater Her work has been seen on Broadway: ‘All My Century Lighting, now Strand a part of Philips as rigger since 2005. As a Production Manager and Son’s’ at The Roundabout Theatre. a sales engineer. There he became the New York Technical Director Steve has opened and oper- Off Broadway: ‘How I Learned To Drive’, origi- Area Sales Manager. He then became a founding ated many theatrical venues including the Magic nal production, also ‘Stop Kiss’, ‘In The Blood’, ‘Kit partner in Lighting and Electronics. After that be On Ice Theater, and the Palace Theater in Myrtle Marlowe’, ‘Julius Caesar’ (Delacorte, ) became a manufacturer’s representative. Then a Beach, South Carolina. He opened RiverCenter for and ‘Little Flower of East Orange’ at the Joseph consultant to ETC. He is presently a consultant to the Performing Arts in Columbus, Georgia in May Papp Public Theatre. Mabou Mines ‘DollHouse’, at City Theatrical Inc. He authored the chapter on T of 2001 and worked as Technical Director till 2007. St Anne’s Warehouse. Also in NYC many produc- V Lighting for the Fifth Edition of the NAB Engi- He was then employed with Theatre Projects Con- tions with: LAByrinth, Light Box at 3LD’ experi- neering handbook. He now writes occasionally sultants working as a stage equipment designer. mental space, Playwrights Horizons, New York for Lighting & Sound America. He as authored Steve currently resides in Richmond, Virginia and Theatre Workshop, Culture Project, Epic Theatre many articles, including The Application of The- works as Technical Director for SMG Richmond. Ensemble and . ater Lighting Techniques to Architectural Spaces, Upon arriving in Richmond he worked with the International: ‘Jesus Hopped the A Train’, di- Dimmer per circuit, Sell is a four letter word, but, design team to oversee the commissioning of all rected by Philip Seymour Hoffman at the Edin- a good four letter word. Moving Lights., Their theatrical equipment for the reopening of the his- burgh Festival and the Arts Theatre in the West time has come. toric Carpenter Theatre at Richmond CenterStage End, London. Mabou Mines ‘DollHouse’, directed He is a past president of the Illuminating En- for the Performing Arts. His current duties include by Lee Breuer at the Edinburgh Festival, Russia, gineering Society NY Chapter. He is a fellow of supervising all backstage operations for the per- Europe and Asia. ‘The Syringa Tree’, in Vienna, the USITT He founded the N Y Area section of forming arts center and Richmond’s touring facil- Austria and Frankfurt, Germany. ‘No Child’, at the the USITT. He was on the board of directors for ity Landmark Theater. Steve is currently working Edinburgh Festival. ‘The Increased Difficulty of many years . He started Broadway Lighting Mas- with the design team to ensure a smooth integra- Concentration’ at the Kings Head in London ter Classes and Stage Lighting Super Saturday He tion of theatrical systems in Richmond’s Historic Upcoming: ‘The Life of Galileo’, by David Hare, taught architectural lighting at Pratt Institute. He Landmark Theater. When not working he likes Theatre Baltic House, St Petersburg, Russia, ‘A chaired the IES sub committee for Theater Light- to spend his time fly fishing in the Appalachian Street Car Named Desire’, in Tallinn, Estonia and ‘I ing of the Theater Television and Film Committee mountains throughout the east. Pagliacci’ for Mill City Opera, at the old mill mu- that produced IES CP 45 «Stage Lighting A Guide seum ruin in Minneapolis. to the Planning of Theatre and Public Auditori- Steve Terry Recently: Opera, ‘Der Ferne Klang’ at the Sos- ums , and Lighting for Teleconference Rooms Steve Terry is the Vice President of Research noff Theatre, Bard SummerScape directed by He was the recipient of the Designers Lighting & Development at Electronic Theatre Controls, Thaddeus Strassberger and Leon Botstein. Forum’s Honor award in 1997 He also lectured at where he leads the group that is responsible for Nominations/awards: Drama Desk, Helen the American Management Association. global development of new products. Previously, as the Executive Vice President Hayes, , Kevin Kline of New York-based Production Arts, he was Award, Back Stage West Award, Peter Svitavsky involved in the engineering and management Award and USA Exhibitor at Prague Quadrennial Peter V. Svitavsky cut his teeth as a stage of many prestigious installation projects over 2007 and 2011. carpenter at shops in Rochester NY. After join- the last 25 years including, the lighting renova- Ms Sissons is an Associate Professor and Co- ing Adirondack Scenic Incorporated in 1988 he tion of the Metropolitan Opera House, the Lyric coordinator of Design at Carnegie Mellon School learned from experts and plied the trade build- Opera of Chicago, the Mirage, Treasure Island, of Drama, where her interest lies in the holistic ing scenery for theaters, museums and theme Bellagio, and Wynn hotels and the Fremont nature of live performance making. parks. The union lead him to opportunities as a Street Experience in Las Vegas, the Lido de Paris nightclub in France, “Fantasmic” at Disneyland, stage hand and arena rigger during that time. six NBC network television studios, seven cruise Fred Smith Early in the nineties Pete was exposed to the ship showrooms for Holland America Line, and Mr. Smith has over 35 years of experience world of machine design while installing equip- the Disney/ABC “Good Morning America” studios working in the entertainment and theater indus- ment at Universal Studios in Orlando, and he in Times Square. try. His mechanical engineering experience is in returned to school soon after to complete his Mr. Terry also maintains an active involve- the areas of structural / mechanical analysis and degree in mechanical engineering at Rensselaer ment in the international lighting industry. He the design of scenic and entertainment struc- Polytechnic Institute. After a period as a design founded the United States Institute for Theatre tures, staging, rigging, buildings, show-action engineer at Eastman Kodak he was drawn away, Technology (USITT) National Electrical Code equipment, amusement rides, and other frame- back to the entertainment industry and to the JR Committee in 1980 and was its original chair. He was appointed a member of National Electrical works. Some of his recent work with Mclaren En- Clancy company where he resides today. Code Panel 15 in 1994. gineering includes Wynn Macau Kinetic Atrium’ Pete designs, inspects and services equipment He chaired the USITT Committee that wrote for Steve Wynn’s Hotel /Casino located in Macau, for JR Clancy in places of entertainment wher- the internationally-accepted DMX512 standard China; Cirque du Soleil’s ‘KA’, MGM Grand Hotel / ever they may be. In his travels he has earned the for digital communications in lighting systems in Casino Showroom, Las Vegas, Nevada. license of a Professional Engineer, a membership 1986. He was inducted as a Fellow of the USITT For Olaf Sööt Associates PC he provided me- with IATSE local 524, several patents, a few scars, in 2006. chanical engineering services for the United Na- and some great friends. Mr. Terry was the founding Co-Chair of the Entertainment Services and Technology Asso-

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ciation’s (now PLASA) Control Protocols Working Diamond at the Smithsonian Museum of Natural Duncan Webb Group. This working group recently produced History, not to mention lighting George Wash- Duncan M. Webb, President of Webb Man- the ANSI E1.17 Standard--Architecture for Con- ington’s false teeth on three separate occasions. agement Services, Inc., has been a management trol Networks (ACN) and ANSI Standard E1.20, If not busy in the world of theater, Glenn is most consultant for the development and operation Remote Device Management (RDM). In addition, likely ‘projecting’ around the house and garden of performing arts facilities for 23 years. Mr. this group delivered ANSI E1.11—DMX512-A in 2004, the first major update to the core DMX512 or camping throughout the country with his wife Webb entered the theatre profession as a love- standard in 16 years. and their two children. sick maiden in Gilbert and Sullivan’s Patience Mr. Terry is currently a member of the PLASA Gov- in 1969. Since then, he has completed degrees erning Body, the PLASA Technical Standards Council, Arthur van Maurik in economics and business, worked in interna- and the PLASA Electrical Power Working Group. Arthur has extensive experience in the world tional banking, produced commercial, industrial of Professional Audio applications and Acoustics, & experimental theatre and has been teaching Jack Tilbury and has an excellent grasp of the way people for New York University’s graduate program in Having been a founding director of the Lon- perceive and appreciate sound. performing arts administration since 1990. He don based Theatre Consultancy Charcoalblue During his career he has made significant con- worked for Theatre Projects Consultants from since 2004, Jack moved on in 2011 to set up tributions to the development and success of a 1989 to 1995 and founded Webb Management Plann Limited. variety of companies, and has been an integral Services in 1997. That practice has completed His career started as a Production Manager in part of Acoustic Control Systems supporting the over 250 feasibility studies, business plans and the theatre industry, primarily for new writing, development and proliferation of effective and strategic plans for facilities, organizations and tours and outdoor events, but also included revolutionary acoustical enhancement systems districts. Mr. Webb is also the author of Running dance, opera, the West End, corporate work, The around the globe. Theaters: Best Practices for Managers and Lead- RSC and the National Theatre. In addition to electro-acoustics and acoustics ers, published by Allworth Press in 2005. He lives He left theatre in 1998 to work as a produc- he also been very active in the general aviation in New York City with his wife and two children. tion manager on a number of visitor attractions, industry and worked on projects such as noise including working for Imagination on the Millen- abatement regulations in the Netherlands, Robert Young nium Dome. In 2001 he joined Theatre Projects aviation headsets and the introduction of GPS Robert Young is a Senior Theatre Consultant Consultants in London, and in 2004 left with navigation. Arthur is an accredited member of in Arup¹s integrated theatre and acoustics prac- three colleagues to set up Charcoalblue. the German Tonmeister organisation (VDT), has tice. Based in Los Angeles, Robert leads the West During eight years as the Charcoalblue been secretary of the Dutch AES section for over Coast operations of Arup¹s integrated theatre Projects Director, Jack managed over twenty 12 years, and is also accredited by the Institute consulting group, which comprises a team of projects in six different countries, opening ten for Independent Business (IIB). more than thirty professionals in theatre plan- new or refurbished buildings, and also led the He was also instrumental in the recent setup ning and design, acoustics and audio-visual design and installation of several major projects of Acoustic Control Systems Ltd in Canada, in or- consulting. at the National Theatre as part of their on-going der to further develop a market position for ACS A respected member of the theatre commu- Technical Master Plan. in North America. He lives in Victoria BC Canada nity with more than twenty years of experience, With his new company Plann, Jack is looking but can also frequently be found in the Nether- Robert has led theatre planning and design and to assist clients with the development, design, lands and throughout Europe. technical systems design for some of the most procurement and construction of cultural build- acclaimed arts and academic buildings of the ings and performance spaces; primarily in a Proj- Mark Vassallo last decade. Some of his projects include the ect Director or Project Management role. With ETC (Electronic Theatre Controls, Inc.) Diane B Wilsey Center for Opera for the San Fran- Plans are currently working for a number of high now for 16 years, ETC¹s vice president of sales cisco Opera, the Wyly Theatre and the Winspear profile organisations in the UK including The Royal Mark Vassallo could be a character out of the Opera House in Dallas, the Walt Disney Concert National Theatre, The Bristol Old Vic, Shoreditch movie Glengarry Glen Ross -- always looking Hall in Los Angeles, and the Kodak Theatre for Town Hall and The Story Museum in Oxford. for the next lead. Beyond the New York persona the Academy Awards in . In addition and colorful vocabulary is a modest Jersey bred, to theatre consulting, Robert has worked and de- Glenn Turner Italian-American father of four who loves his signed for numerous regional theatres on both Glenn Turner has worked in theaters all over home in the American Midwest, has a passion for the East and West Coasts and for the New York cycling, and is also a receptive internationalist. City based production company Entertainment the country from Alaska to Washington, D.C., Events. where he has served as Head of Production: ETC CEO Fred Foster hired Vassallo to run ETC¹s Robert is an effective leader and intermediary Operations and Maintenance at the Kennedy New York City office and to be the company¹s between the client, users and the design team. Center for the past 15 years. At the Kennedy Cen- Northeast regional sales manager. In the process, Combined with his ongoing hands-on experi- ter he has overseen all the capital improvement Vassallo met his Wisconsin-native wife Michelle ence of production and stagecraft, his reputation projects, including the major overhaul of all of at ETC and moved to Madison to start a family, in the industry affords him insight into new tech- the primary theaters in the building. He is also working from ETC headquarters. In 1998, ETC nology and a broad and innovative approach to a member of the Kennedy Center Safety Com- appointed Vassallo vice president of sales, his building better theatres. mittee. In addition to his fulltime duties, Glenn current role, in which he develops ETC brands enjoys working with the National Symphony Or- and projects globally and works with regional chestra where he has toured internationally and sales managers and international clients. assisted with their Capital Concert series. Glenn Vassallo¹s sales territory is global. He frequent- has also been an associate lighting designer for ly travels to ETC¹s offices in London, Rome, Co- many exhibits stretching as far away as Japan. He penhagen, southern Germany, and Hong Kong has lit several exhibits in the D.C. area, including as well as to far-flung projects anywhere in the the jewels and gems exhibits featuring the Hope world. A few recent ETC projects he was proud to be instrumental in were the Universal Project and HCC in Singapore. NATEAC • 2012 • www.nateac.org 21 We’re Baaaaaack! The Return of NATEAC

by Eddie Raymond

The Mission Statement of NATEAC is to “promote We define the parameters that designers work within, provid- communication between the architects, engineers, ing them with the infrastructures they need and expect in order consultants, and manufacturers responsible for de- to execute their art. Hopefully flexible and complete enough to signing and building new theatres and renovating let them realize their visions, but at the same time serving the existing facilities in North America.” and, “to promote needs and wishes of the producers who pay for the art; another a higher level of interaction between these profes- challenge for us. We are here to talk about those challenges. sionals and the end users of their facilities.” How we do our work sets the tone for the manner in which The 2008 conference accomplished its mission and much technicians execute theirs. The efficiency and safety of the more. So, you might ask yourself, “Why are we here again?” crew depends heavily on how well we understand their work. A Well, for lots of reasons. building with all of the latest bells and whistles can be fraught with a variety of hazards if we don’t address these challenges The world has been through the wringer for the last 4 years. in meaningful ways as the buildings are designed, constructed Economic meltdowns around the world have had a significant and commissioned. Much of this task is dependent on infra- effect on our industry. Armed conflict in many quarters, re- structures that are incorporated into the design and not easily gime changes in the Middle East, both violent and peaceful, addressed in a finished building. We are here at NATEAC 2012 to the emergence of China as an economic super power have all better understand that task. changed the landscape of markets, expectations and oppor- tunities. These events have also affected how we think about Our understanding of the environment and our effect on it has the world, and closer to home, how we think about our work. grown in the last four years. New choices have emerged for the We are at NATEAC 2012 to explore how those changes have products we use in our buildings, the way we execute our work affected one another and our work. and the waste we produce. We better understand potential global effects of our choices. We are here at NATEAC 2012 to The arts, the performing arts specifically, and the buildings in more responsibly embrace those choices. which they exist, have always played important roles in tumul- tuous times. They serve to inform, forcing us to look at our pre- The only sure thing in life, and thus in art, architecture and en- dicaments and situations in unexpected ways. They allow us to gineering is that things will change. The world we experience forget our troubles for a few hours and immerse ourselves in today is not the same as the world we experienced in 2008. The realities that are at once different than our own and controlled rules of physics may be the same but the tools we use to har- in ways we can’t control the reality we live. They allow artists to ness them have changed. The history of art and architecture has tell their story, which is ultimately our story. We are at NATEAC grown and evolved and continues to inform our work as does 2012 to talk about how our work helps others relate that story. greater knowledge about our world.

We design and construct much of the pre-show experience The founders and advisors of NATEAC 2012 hope that this con- of the audiences occupying the spaces, and that in turn helps ference, much like the 2008 conference, will allow us to meet set the tone of what they subsequently experience. What an new people and form new friendships. We hope that this op- audience member sees, hears and feels when they enter the portunity to share information and opinions about our work building and then in the performance space is dependent on leads us all to ask hard questions and look for solutions to the how well we understand the programming and the intentions myriad challenges we all share. We have every confidence that of those who create the product. Our understanding of how you will find this conference as rewarding and satisfying as did people experience their surroundings is paramount to the suc- the attendees of the 2008 conference. cess of these spaces. We are at NATEAC 2012 to exchange ideas about that understanding.

We dream up new technologies or new ways to incorporate Eddie Raymond is the Vice President of Local 16, existing technologies in these spaces. The technologies we IATSE. He is Chairman of PLASA NA, a member of incorporate into a theatre and the way we do so informs the the PLASA Governing Body and sits on the ETCP work that will eventually be done there. Chasing the ethereal Certification Council. target of “getting it right” becomes a challenge of the perfect marriage between form and function, and perfection is sub- Sections of this article first appeared in the jective. It changes with the tastes of and the people Winter 2008 issue of Protocol, the journal of creating the art. We are at NATEAC 2012 to explore how chang- PLASA NA. es in tastes and times inform our definition of perfection.

22 www.nateac.org • 2012 • NATEAC Proud Sponsors of NATEAC 2008 & 2012

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