Copyright
by
Darren Eric Levin
2010
The Thesis committee for Darren Eric Levin
certifies that this is the approved version of the following thesis:
New Themed Attraction for the Theme Park Industry-
Western/Equestrian Production Show
APPROVED BY
SUPERVISING COMMITTEE:
Supervisor: ______
Michelle M. Habeck
______
Rusty Cloyes
______
Denise V. Martel
New Themed Attraction for the Theme Park Industry-
Western/Equestrian Production Show
By
Darren Eric Levin, BFA
Thesis
Presented to the Faculty of the Graduate School
of the University of Texas at Austin
in Partial Fulfillment
of the Requirements
for the Degree of
Master of Fine Arts
The University of Texas at Austin
May 2010
New Themed Attraction for the Theme Park Industry-
Western/Equestrian Production Show
By
Darren Eric Levin, MFA
The University of Texas at Austin, 2009
SUPERVISOR: Michelle Habeck
Rodeo West
This thesis explores creation of new themed entertainment attractions for the
Theme Park Industry. The creative process of new work, centering on the devising, designing, and preproduction stages of this industry and theatre is the focus of this thesis.
The product is an Equestrian/Western Production Show including live vocalists, recorded music, lighting, scenic design, and costume design.
The extending goal is to begin to prepare documents for a pitch proposal to a major Theme Park/Themed Entertainment Corporation for inclusion in their Western themed entertainment offerings. This themed entertainment attraction is created to introduce people to historical Rodeo and Western Variety show traditions and spectacles.
Honoring these traditions and forms of entertainment provides thrilling visual experiences for the audience. Research, development, and show content focus upon historical and present day western shows. Production concepts outlined include the
iv show concept, soundtrack, script, lighting design, scenic design, sound design and
costume design.
Central to the creation of the production show is the script and full sound design
which are included as a part of this thesis. Scenic Design renderings, ground plan and
centerline section illustrate the layout of the performance space. Lighting research images, storyboards, renderings, plot and centerline section illustrate the further visual composition. Costume elements are presented through research morgues broken down by character, act, and clothing look.
v
Table of Contents
Abstract...... iv
Chapter 1: Background and Overview of Project...... 1
Chapter 2: Traditions of the Wild West Show and Rodeo...... 4
Chapter 3: Target Audience/Demographics...... 15
Chapter 4: Show Concept and Selected Acts...... 20
Act 1: Opening/Grand Procession ...... 21
Act 2: The Robbing of the Stagecoach ...... 21
Act 3: Trick Riding and Roping...... 22
Act 4: Livestock Roping ...... 23
Act 5: Steer Wrestling...... 24
Act 6: Barrel Racing ...... 25
Act 7: Bronco Riding...... 26
Act 8: Bull Riding...... 27
Act 9: Finale...... 28
Soundtrack ...... 28
Casting ...... 29
Safety ...... 30
Chapter 5: Design Considerations ...... 32
Scenic Design...... 32
Sound Design...... 39 vi Lighting Design...... 40
Costume Design...... 43
Chapter 6: Conclusion...... 47
Appendix I: Show Script...... 48
Act 1: Opening/Grand Procession ...... 48
Act 2: Robbing of the Stagecoach ...... 56
Act 3: Trick Riding/Roping ...... 58
Act 4: Roping Livestock ...... 59
Act 5: Steer Wrestling...... 60
Act 6: Barrel Racing ...... 64
Act 7: Bronco Riding...... 69
Act 8: Bull Riding...... 73
Act 9: Finale...... 76
Bows ...... 81
Appendix II: Scenic Design...... 84
Appendix III: Lighting Design...... 90
Appendix IV: Costume Design...... 99
Works Cited ...... 102
Vita...... 108
vii Chapter 1: Background and Overview of Project
This thesis chronicles the process of devising and creating the total themed
entertainment production concept for Rodeo West. The written portions of the Rodeo
West project center on the research and investigation of Buffalo Bill Cody’s Wild West
Shows and Rodeo. Included are historical overviews and analysis of the traditions of
Rodeo and Buffalo Bill Cody’s Wild West Shows. The structure and traditions surrounding the performance of Buffalo Bill Cody’s Wild West Shows and the competition sport of Rodeo is the origin and source material for a new Themed
Entertainment Show, specifically geared for theme parks.
Through this thesis I will look at the performance aspects and cultural traditions of Rodeo and Wild West Shows that form Rodeo West. An overview of the show concept, organized and broken down by act, provides an in depth look into the historical context of each individual act. This historical context aids in the grounding of the overall show is the reason for the inclusion of each individual act.
Script and design artifacts are located in the appendices of this thesis. The script for Rodeo West includes narration about each the historical context and execution of each act connecting the nine acts of Rodeo West together. Audio clips of the proposed soundtrack for the show accompany the text of the script.
Scenic design concepts are illustrated through research morgues, drafting, and renderings. The lighting design artifacts are the most prevalent design discipline.
Presented is the full lighting package which includes a research morgue, storyboards, lighting renderings, drafting and full paperwork package consisting of magic sheets,
1 instrument schedule, channel hookup, and shop order. Costume renderings illustrate the
design concept and the garment progressions through the show.
The western concept of Rodeo West will fit naturally into Western themed areas
that already exist in many large parks across the country today. Rodeo West is being
developed for presentation in indoor arenas. The utilization of renovated and specialized
venues is a key consideration to the development of the concept and needs of Rodeo
West.
In consideration of the current state of the economy, it is essential to know the
exact demographics that a show is intended to entertain and to understand the exact type
of spectators that will be populating the stands for the show. Therefore analysis of the
target audience is essential. In addition, a study of the show’s ability to fit into and adapt
with preexisting themed attractions of targeted theme parks and operators across the
country is essential to the show’s success.
Audience appeal is a major part of developing new shows and new entertainment
concepts. Many theme parks are located in metropolitan areas of the country, and draw
heavily on the residents of those metro areas. These parks also draw upon residents of nearby rural areas. Development of a production that is thrilling and entertaining for those with or without prior knowledge of rodeo is essential. Rodeo West serves as an
introduction to western culture and rodeo for those not familiar with the genre. Rodeo
West also serves to preserve and honor the lifestyle of those who live the western lifestyle
and culture everyday.
2 Rodeo and Ranch/Western lifestyle is a culture that I have been familiar with all of my life, and is of significant interest to me. Honoring the traditions of Ranch and
Rodeo culture through the creation of a full production show honoring the exhilarating and exciting events of Rodeo and Wild West Shows is at the heart of my creating Rodeo
West.
3 Chapter 2: Traditions of the Wild West Show and Rodeo
One competitive sport in the United States today that is often under publicized
and under marketed is Rodeo. However, this is not to say that the level of entertainment
and skill at these events is second rate. Rodeo competitions are filled with adrenaline,
strength and skill as man is placed against beast. Since its inception, Rodeo has moved
from its local ranch hand competition roots to super events of today such as the Wrangler
Million Dollar Tour and the Xtreme Bulls Tour.
Looking at the linage and history of Rodeo, there is a distinct link and parallel to
the development of the Wild West Shows of the late 1800’s. The development of Buffalo
Bill Cody’s Wild West Show started long before his first tour ever began. Buffalo Bill
Cody got his start in show business as a vaudevillian stage actor in the 1840’s. He
performed as a stage actor in stage adaptations of dime novels about the western states
and western settlements from his debut in the 1840’s, through the 1870’s.
P.T. Barnum produced the first Wild West Show in 1843 during Buffalo Bill
Cody’s tenure in the vaudeville and dime novel tour circuits. This early trial of Wild
West Entertainment was called Indian Life or Chance for a Wife. PT Barnum was never
successful in his Wild West Show development and performance. The performance was
attached to the established circus tour, and did not fit the targeted audiences. According
to Variety Entertainment and Outdoor Amusements by Don Wilmeth, Cody did not participate in P.T. Barnum’s Wild West Show performances, but he was aware of their occurrences. Buffalo Bill Cody would be the performer and producer that would
4 ultimately develop the most commercially successful and profitable Wild West Show.
(Wilmeth 78)
Buffalo Bill Cody’s permanent home and ranch in North Platte, Nebraska was the breeding ground for his Wild West Empire. In 1882, he was commissioned by the city of
North Platte to plan, develop, organize, and perform in the Old Glory Blow Out. This performance was presented as a part of the Fourth of July Festivities in North Platte. The
Old Glory Blow Out included acts illustrating cowboy skills culminating in a fully staged buffalo hunt. This hunt allowed Cody to display his marksmanship skills in front of a live audience. Through the use of blank ammunition, gunshots and hunting noises were simulated without injury to animals. The Old Glory Blow Out, presented in a large open arena, was the beginning of what would become Cody’s recipe for success. Cody and his company began extensively touring new productions in the Eastern United States, and eventually made the journey into European markets.
The success of the 1882 North Platte Exhibition shows led Buffalo Bill Cody to develop subsequent performances. Several varied thematic shows were developed, and toured across the Eastern United States. The company, as a matter of practice, would often perform two or three shows per season, per city. Through the year, the company would typically visit a city twice, possibly more if the market proved lucrative enough.
Tenures in each city would range from a single day in small markets, to week long sit downs in large metropolitan areas. Through the expert marketing of his Press Manager, and lead advertiser John M. Burke, the show quickly became a large themed
5 entertainment event, often billed as “a look at the romanticized and glamorized American
West” (Wilmeth 79)
Cody offered a variety of different events, as many as 18 events including up to
200 performers, in each show presented across the country. The shows were some of the largest and grandest shows the world had seen at this period in time.
In its ultimate form, Cody’s show offered as many as eighteen events: displays of
horsemanship, “cowboy fun,” shooting, buffalo hunts, capture of the Deadwood
Mail coach by Indians, races, and other types of pageantry, all culminating in a
stage finale similar to the circus “spec,” usually depicting some historical or
legendary event such as Custer’s Last Stand or the Battle of the Little Big Horn.”
(Wilmeth 79)
This multi-event show structure proved successful for Cody’s production, and ultimately proved to be the working format of all of his productions. Touring the United States, the show had a very specific mission, introducing people of the Eastern United States to experience the unsettled West. Cody wanted to bring a piece of his western world to audiences. He worked to raise understanding and awareness of the west, and most importantly, its culture and its people. All of the acts presented in the performance can be filtered down to basic key events that defined life in the Western United Sates: horsemanship, marksmanship, the robbing of the Deadwood Stagecoach, Indians, and a focus on animal acts and the animals themselves.
This is not to say that the performers were always the same, and that they always presented the same exact acts. Throughout the run of the shows, acts came and went,
6 changing their exact content trying to define and refine exactly what the American audiences wished to see. There was a division between the settled areas of the United
States, and settlers that were moving westward to expand and explore the vast reaches of the Louisiana Purchase, the Texas Annexation, and other land acquisitions. North
American Easterners had no conception of the experiences that settlers encountered in their journeys to and lifestyles in outer settlements. Cody’s Wild West Shows introduced the settler’s lifestyle and culture to metropolitan audiences. The show reached a milestone in 1886 performing in New York City at Madison Square Garden, one of the grandest and most prestigious arenas to date. With the success of five years of American tours, Cody set his sights on a new touring region; Great Britain and Europe.
On May 9, 1887, the Buffalo Bill Wild West Show opened in London, England.
The structure of the international version of the Wild West Show followed the same style that was seen by American audiences. As in the United States, acts continued to come and go throughout the overseas ventures.
The official program proclaimed the entertainment “new, startling, and
instructive,” and noted an impetuousness that came from mixing cowboys, Native
Americans, and vaqueros with wild beasts. A reporter who had seen the show in
the United States described it as “a combination of a sort of savage circus, and a
rough and ready theatre” and likened it to taking a tour of the wildest parts of the
country “under the personal conduct of Buffalo Bill.” (Reddin 90)
As with the United States tours, the point of the show was to introduce the attendees to the traditions, culture, and skills of the American Western settlers. Many of the key acts
7 of the show remained remarkably similar to those seen in the American versions. Acts centered on horse races, cowboy fun, the riders of the Pony Express, sharp shooting,
Indian dances, the buffalo hunt, and the attacking of the frontier cabin. (Reddin 91)
These above listed acts are seven key events that proved to be the staple of each performance created by Buffalo Bill Cody.
The most prominent and long lasting tradition in each performance was the opening Grand Procession. The Grand Procession became a moment for the audience, specifically Americans, to honor their home country and was accompanied by the presentation of the United States colors, as well as the singing of the Star Spangled
Banner. It served also as an introduction of the varied acts and performers. (Reddin 66)
Each act was introduced in the procession by the show’s narrator who commanded the attention of the spectators simply from his powerfully prodigious voice. He was typically heard without amplification over a crowd of twenty thousand.
The acts of the Wild West Show were typically connected by a Narrator who introduced all the performers, placed interludes and narration between the acts, and helped to propel the show forward. One of the most prominent narrators employed in these productions was Frank Richmond. “He introduced the show, explained acts, made impromptu comments, and added touches of humor. His remarks were short: action, not words, characterized the performance.” (Reddin 66) “The formal spoken part of the entertainment and some ad-libbing took something over thirty minutes during a two or three hour program.” (Reddin 66)
8 Producers did attempt to connect the different acts of the show with a more
dramatic coherence. They made effort to connect the show through storyline built from the seven key events of Cody’s Wild West Show, each event resembling smaller shows depicting the settlement of the west and cowboy skills. (Wilmeth 79)
A derivative of the Grand Procession was the arrival of the performance company to a performance city. Typically, a large parade was formed and marched into town
headed by Buffalo Bill Cody and his Cowboy Band traveling with the show.
Cody, in colorful dress, usually headed the parade. Following him were cowboy
musicians of the brass band; Indians issuing battle cries and wearing “two coats of
paint instead of a shirt,” feathers, and beaded clothing; shouting cowboys in
flannel shirts, and broad-brimmed hats, vaqueros, festive western women, and
sometimes soldiers. A New York journalist observed: “it was as if the wild
regions of the West had mustered all of their queerest denizens, clothed in holiday
dress and sent them forth.” (Reddin, 64)
The Deadwood Stagecoach, a scenic element utilized in the performance and
grand procession, was included in the parade. Often the Deadwood Stagecoach was
filled with local dignitaries and celebrities. On occasion, these dignitaries and celebrities were also featured in the stagecoach during the live in venue production. A parade often
formed as the company entered into a new city. This parade allowed the inhabitants of
the host city a chance to see the animals and performers that were a part of the show prior
to the performance. The parade also served as a marketing tool for the company,
reminding residents that the show was in town and spurring ticket sales.
9 Aural tradition and culture of the west proved an important element of the
Western productions. The music of Buffalo Bill’s Cowboy Band announced the shows arrival into a new city as a part of the arrival parade and provided music throughout the presentation of Buffalo Bill Cody’s Wild West Show. The sound of the hooves of animals and the vocal sounds of horses and livestock inherently provides a western ambiance to any space that these animals are present in. The battle calls of American
Indians and representative American Army sources provided yet another aural element, as well as the profound and paralyzing sounds of live gunshots.
The aural aspect of the show was powerful, even intimidating at times, the
cowboy band played “most of the time” and added dramatic impact to happenings
in the arena. The hooves of the fast moving horses pounded the earth. In addition
there was “tremendous noise of the blank cartridge…the terrific whoops of the
painted warriors” and cowboys intent on proving that “they could fire blank
cartridges more quickly than the red man and could yell louder too.” (Reddin 67)
Music, the sounds of animals and equipment are essential in creating the ambiance and culture of the western settlements that Cody was paying homage to in his performances.
However, this was not the only way that the performers portrayed their western homes and traditions.
The performers of Cody’s Wild West Shows lived in large encampments set up near the performance venue. These camps recreated the encampments of the west as accurately as possible. Audiences and especially leaders and high profile persons in the area were invited to take a look into the living styles of the Indians, settlers and
10 performers. Dinners with traditional American and western cuisine were often served for
dignitaries. (Reddin 90)
Design elements played a large role in the Wild West Shows of Buffalo Bill
Cody. Large scale painted backdrops were unfurled to help recreate the expanse and
feeling of the American West. These large drops were also used to help transform the
large indoor arenas into a more appealing and appropriate space for the performance. In
London, the Americans remodeled Earls Court and surrounding areas to more appropriately recreate the essence of the American West as a part of the 1887 American
Exhibition. (Hovet 8) Prior to the company’s arrival, rolling hills recreating the plains of
Wyoming and Nebraska were constructed. As the show moved on throughout the United
Kingdom, they began performing in more sophisticated venues. In Manchester, England, the venue was indoor and heated, large and expansive including interior lighting. This again changed the dynamics of the show. (Reddin 95)
Performers in the Wild West shows were hand selected. They often included notable performers who specialized in key western skills such as horsemanship, marksmanship, variety acts, and acts involving animals. Famous westerners of the day including Buck Taylor, Johnny Baker, Pawnee Bill, Sitting Bull, among others spent tenures with the famed show and producer.
It is important to note that Buffalo Bill Cody’s shows also were some of the first to incorporate a large number of female performers into the Wild West Show, especially in a time when Women’s Rights Movements were moving to the forefront of American social debate. The first Women’s Suffrage Amendment was introduced in the United
11 States Congress in 1878, and the formation of the National American Woman Suffrage
Association in 1890. (Barber 2) Annie Oakley, one of the most famous sharp shooters in history, was one of the most prominent female performers in Cody’s shows, and enjoyed a quite long tenure with the company. (Wilmeth 79)
As the tour moved to the European continent the show continued to expand its female cast presence. Including the famed Lillian Smith, women were accommodated into several acts in the show, and garnered their own acts including the Lady’s Race by
American Frontier Girls. (Reddin 91)
By the time the show made the trek to London, the company included 95 Native
American Indians and over 250 animals. (Reddin 90) In Manchester, the show included somewhere between 200 and 250 performers. (Reddin 95) The size of the cast and the amount of livestock/animals illustrate the sheer scale that this show was performed on, and the extensive area required for its performance and staging areas.
Paralleling the development of the Wild West Shows of Buffalo Bill Cody, Rodeo competitions began to develop during the mid and late 19th century in the Western United
States. Though the exact date and place is still debated, most scholars agree the first rodeo took place in 1869 in Deer Trail, Colorado. Cowboys from neighboring areas came together to challenge each other in events depicting everyday tasks on the ranch.
These events included breaking wild horses, roping, riding skills, and the like. This is the beginning of a truly American sport, which is based on the needs and challenges of those who settled the American West. (PRCA 11) “The origin of rodeo and its contemporary types is rooted in a combination of elements traceable to two post-Civil War era
12 activities: the roping, riding and racing exhibitions staged among working cowboys for
entertainment, and the Wild West shows.” (Theodori 1)
Today, rodeo is a multi-million dollar sport presented under the jurisdiction of the
Pro Rodeo Cowboy Association or PRCA for short. The rodeo tour takes participants all
across the country to rodeo and arena venues spanning most of the western states,
including Rodeo Austin in Texas. (PRCA 6) Each of these Rodeos is a sanctioned event,
with trophies and prize monies awarded to the winners of each competition event. The
competition is very structured, operating under the bylaws of the PRCA. Classic rodeo
events presented as a part of each sanctioned rodeo include Bareback Riding, Steer
Wrestling, Team Roping, Saddle Bronc Riding, Tie-Down Roping, Barrel Racing, Bull
Riding and Steer Roping. (PRCA 14-15) Typically all events are presented in the same night, with multiple brackets resulting in the final event where prize money is awarded.
Many rodeos, including Rodeo Austin and the Houston Rodeo are presented in association with larger city, county, and even state fairs. Concerts, carnivals, agriculture displays, and 4-H events are presented in conjunction with Rodeo, and take entertainment value beyond the sphere of the rodeo performance. These added events parallel the viewing of the encampments of Buffalo Bill Cody’s Shows and immerse the spectator not only into the performance but also the lifestyles of rodeo and rural culture. Today, the events surrounding modern rodeo are time adjusted to honor the traditions of the modern farm and ranch lifestyle.
There are traditions associated with the presentation of rodeo that parallel the traditions of the Wild West Show. One example is the opening presentation of the colors
13 of the Unites States accompanied by the singing of the national anthem. After the rodeo
has been opened, the announcer takes over adding dialogue about each event as well as statistics about each performer as they prepare for a run or new events.
The rodeo clown plays a critical role in the execution of the rodeo. The job of the rodeo clown is one of the most dangerous jobs associated with the sport. While there as comedic relief during lulls in the action, the rodeo clown serves a vital role in the safety and execution of dangerous events like bull riding. The clown serves as the distraction to allow the contestant to exit the arena without being injured by a possibly still enraged animal. After a contestant has dismounted the bull, the rodeo clown directs the animal out of the arena and aids resetting the space for the next run.
Most rodeos are presented in large scale arenas, and many indoor venues that service hockey or basketball events as well. The American Royal Rodeo and Livestock show in Kansas City, Missouri performs in the 18,000 seat Kemper Arena which also serves a basketball arena, hockey rink, and concert venue throughout the year.
Music, exhibitions, and demonstrations of western lifestyle and culture are key elements of modern Rodeo events such as The American Royal Rodeo and Livestock
Show. One of the greatest challenges facing entertainment and sporting promoters and producers today in the United States is attracting audiences to these events. Funding, marketing, and demographics are variables that must be taken into consideration when producing or promoting a successful performance.
14 Chapter 3: Target Audience/Demographics
Theme parks are constantly working to expand the age range of audience
members by the addition of new attractions and shows. Theme and amusement parks are major businesses today. They are designed to be family friendly and geared for multiple age groups. This industry continues to grow with each season. In 2007, the International
Association of Amusement Parks and Attractions (IAAPA) reported that all member parks saw an estimated attendance of 341 million people, and estimated revenue of $12.0
Billion, as opposed to and estimated 300 million people and revenue of $8.4 Billion in
1997, just 10 years earlier. (IAAPA 1) With the added attendance, many of which are repeat visitors from previous years and are season pass holders, the emphasis on creating new and exciting attractions, rides, and production show oriented attractions is at the forefront for corporate executives minds.
“According to an IAAPA survey, 28 percent of Americans surveyed visited an amusement park last year, with 50 percent of Americans indicating that they plan to visit an amusement park within the next 12 months.” (IAAPA 1) This survey illustrates the large constituency that the theme park and themed attraction industry reaches on a yearly basis.
Many of the largest amusement park operators, including Six Flags Incorporated and Cedar Fair Entertainment Corporation operate parks in major metropolitan areas which draw clientele heavily from the surrounding area. Themed entertainment
15 productions for these corporations must have the ability to appeal to both urban and rural audiences, and create the “wow” factor for both new and repeat audiences.
Rodeo West is a themed production show illustrating and highlighting the
traditions of the west through the modern sporting event of rodeo. The show draws the
culture and traditions of western performance into a themed entertainment production
that illustrates the skill, and agility of the ranch and western workers. Each event is
derived from historical and modern day performance groups and sporting events.
Rodeo West also draws upon the structure of the Wild West Shows produced and
performed by Buffalo Bill Cody. His show grew to great popularity both in the United
States, the United Kingdom, and across the European Continent. Some of the acts for the
production of Rodeo West are derived from the early acts that were produced by Cody’s
Wild West production. Examples of this include the Robbing of the Deadwood Stage
Coach, Grand Procession, and Trick Riding and roping. The acts have been revamped
and rethought to appeal to the audiences of today. Adaptations have also been applied
with respect to the casting and technical limitations/requirements of the arena and
production possibilities.
The other show content is derived from the traditions of Rodeo events. Portrayed
events include Livestock Roping, Steer Wrestling, Barrel Racing, Bronco Riding, and
Bull Riding. Performances are created from three to four rides or trials of selected rodeo
event. Rides and trials are combined with modern music and enhanced with full
production and performers. Wild West Show and Rodeo material combine with music,
dance, and tradition to create the storyline, text, and full production show.
16 Rodeo West is built on a loose historical time line that is held together with
connecting threads of dialogue. Rodeo West is not explicitly created for educational value. However, heritage and culture of Rodeo and Buffalo Bill Cody’s Wild West
Shows is presented and may be a source of education for new spectators.
While Rodeo West is geared for all ages, the reality is that the primary attendees will most likely be young children up to age 12 and adults aged 30 and above. This assumption is based on show attendance statistics observed at Cedar Point Amusement
Park in Sandusky, Ohio. This is the challenge that themed entertainment is facing. In the theme park setting, how do production shows compete with the thrill ride offerings?
How do we reach a generation that has been entranced by television, MTV, and the special effects seen in blockbuster films of the past 20-30 years?
Demographic information of Rodeo Austin show that the primary age groups
attracted to the event are ages 16-50. (Demographic 17) With the acts centering on Bull
Riding, Bronco Riding, Steer Wrestling and the like, the hope is that the 15-30 year old
age group will be drawn into the show via the danger appeal and “extreme” nature of the
events portrayed onstage. The soundtrack utilizes music from popular western movies,
modern country and cross over country/rock music as the connection to younger audiences. The music is intended to serve as an entry point for modern audiences and a
connection point to the show and material. With proper media, advertising, and
promotion it is possible to reach and expose the 15-30 age group to themed
entertainment.
17 Rodeo West is intended for markets across the United States, with the possibility of expansion to foreign areas, much as Buffalo Bill Cody’s Wild West shows in the late
1800’s and early 1900’s. Urban markets should prove successful with this style of production show. Houston, the fourth largest city in the United States, hosts one of the largest rodeos in the country. The 2009 edition of the Houston rodeo drew 1,182,128 attendees, and the numbers are continually on the rise. The event has grown from an attendance of 923,313 in 1998 to 1,206,551 in 2008. (Attendance 4)
Parks and attractions with pre-existing western themes are natural places for
Rodeo West to be incorporated. Themes and decor present in these areas of theme parks help to reinforce the ideals that the show is built on. Themed areas parallel the idea of the performer camps that were a major part of the touring shows of Buffalo Bill Cody.
Building stables/livestock barns accessible to the general public allow for another vehicle of western interaction with the public. Displaying of livestock and animals when they are not performing adds another offering to the attraction.
Many themed attractions already have pre-existing large arena style venues that may be converted to accommodate Rodeo West. A pre-existing ice skating venue (and former IMAX theatre), The Goodtime Theatre at Cedar Point Amusement Park in
Sandusky, Ohio, would be converted to house the production. The lighting, sound and rigging systems are already present in the building. The larger portion of the conversion would include construction of stables and livestock barns to house the animal performers.
Major changes to the floor surfaces, the removal of the ice compressors and equipment,
18 retrofitting of safety equipment, and scenery to house the new production would be necessary.
Ultimately the show, Rodeo West, could expand beyond theme parks to other destinations where themed entertainment and spectacle shows are the focal point of production shows. Examples of expansion markets might include Las Vegas, Nevada,
Branson, Missouri, Pigeon Forge, Tennessee, and other similar tourist destinations.
19 Chapter 4: Show Concept and Selected Acts
The concept for Rodeo West draws upon cultural elements of the westward expansion, the traditions of Rodeo and the associated culture. These elements are presented in a new production geared for theme park entertainment. The development of the concept began with investigation and analysis of the traditional acts presented by
Buffalo Bill Cody’s American Tours between the years of 1872 and 1885.
Some of the key acts of this time included the storming of a plains cabin by the
Indians, the robbing of the Deadwood Stagecoach, the early travels of the Pony Express
Riders, and countless other acts as outlined in Buffalo Bill on Stage by Sandra Sagala.
(Sagala 205-225). Also relevant to the development of the script and show concept is the
inclusion of rodeo, rodeo acts, and rodeo traditions. Steer Wrestling, Bronco Riding, and
Bull Riding are the bread and butter of the Rodeo circuit today. They are blockbuster
events with major televised finals presented in cities all across the United States of
America. (PRCA 11) Closing the show, and a part of the finale sequence is a scene that pays tribute to the Western United States and culture that developed with the westward expansion.
One of the key elements in Rodeo today is the energy that is produced from the interaction between cowboy and live animal, and the interaction between the spectators and the contestants. It is this energy that must be present and is essential to the success of a Rodeo and Wild West based show.
Rodeo West will be a fully produced entertainment event as opposed to a series of acts and/or sports runs as are seen in the Wild West Shows of Buffalo Bill Cody and
20 Rodeo Events of today. This will be a fast paced event with the best that Wild West
Performance and Rodeo have to offer. The total run time of the show is estimated to be
42 minutes.
Act 1: Opening/Grand Procession
Estimated Running Time: 4:40
The opening of Rodeo West will throw back to the traditions originated by the
Wild West Shows of Buffalo Bill Cody. This act includes an introduction to the members of the company, select animals, and performance/trick skills of each performer.
Introductions are done through a parade entering the arena from stage right and proceeding to downstage center. At that point, each performer is introduced by the emcee and performs a short (10-15 second maximum) preview of their act.
Also as a part of this opening is a tradition from rodeo, the singing of the Star
Spangled Banner to begin the event. The opening of such western events always pay tribute to the United States, the country which bore this sporting event, and has cultivated it into the success it has seen today.
Act 2: The Robbing of the Stagecoach
Estimated Running Time: 5:55
Giving a nod to the wild days of the settling of the west, the robbing of the
Stagecoach gives the audience an opportunity to see a live reproduction of an historical
Deadwood Stagecoach and the mayhem that ensued when the coach was robbed by
21 western residents opposed to the expansion and exploitation of unsettled lands. Robbers
will be reminiscent of early bandits, such as Jesse James, who robbed settlers as they made their progression west.
In this event the singers/dancers would play the role of passengers in the stage coach. This act allows for spectators to witness the command and control that a stage driver must posses to operate a larger team of horses (four in this productions), and haul
cargo all across the western frontier. This event leads the production to the trick riding and roping section.
Act 3: Trick Riding and Roping
Estimated Running Time: 3:15
The apprehension of the stagecoach robbers through trick riding and roping move us forward. Once the robbers have been apprehended, the act transitions to roping tricks.
Three performers well versed in roping and trick riding skills and traditions will perform on horseback and on the ground. Trick riding utilizing one and two horses will be presented. Tricks performed may include handstands on moving animals, standing on two horses simultaneously, displaying roping techniques and tricks on the rodeo floor,
etc. At the end of the act, lighting will transition and the emcee will emerge upstage center where he will begin to introduce Act 4.
22 Act 4: Team Livestock Roping
Estimated Running Time: 4:23
Livestock roping was one of the first events to be included in rodeo, and dates back to the beginning of ranch work as steers and calves were caught for medical and slaughter reasons. (PRCA 15) Therefore, it is appropriate that this event be added in the historical presentation. Though team roping has spanned many decades since the first rodeos, the format for the event has changed little. The key difference is the addition of timing and scoring in Rodeo Competition today.
Team ropers work as partners, one header and one heeler, who move in precise
coordination. They and their horses start in the “box,” a starting line located next
to the cattle chute containing the steer. When the leader nods, the chute gate
opens and the steer gets a head start. The leader throws the first loop, which must
catch the steer’s head or horns, protected by a horn wrap. The header dallies
(wraps his rope around his saddle horn) and moves his horse to pull the rope taut,
changing the direction the steer is facing. This change in direction gives the
heeler the opportunity to catch both of the steer’s hind legs with his own rope; he
tries to time his throw to catch the legs when they are in the air. After the catch,
he also dallies, to stop the steer. When the ropes are taut and both horses face the
steer the time is recorded. (PRCA 14)
In the run of the show, three two person teams will complete roping runs. The emcee will divide the audience into three groups. Each group will be encouraged to cheer on
23 their respective competitor. The purpose in including Team Livestock Roping is to
illustrate the speed, skills, and coordination required by a professional roping team.
Act 5: Steer Wrestling
Estimated Running Time: 4:23
Along the same lines as team roping, steer wrestling combines the cowboy’s
horsemanship and the cattleman’s skill into one event.
Steer wrestling demands coordination between two mounted cowboys (the steer
wrestler and a hazer who controls the steer direction) and their horses. The
cowboys back their horses into the box, the starting line on either side of the cattle
chute, on each side of the steer. When the contestant nods, the chute gate opens
and the steer gets a head start before the cowboys begin to chase the steer. As the
steer wrestler draws even, the wrestler dismounts from his horse, which may be
moving at speeds up to 30 miles per hour. The wrestler grasps the steer’s horn
and digs his boot heels into the dirt to slow down the 500- to 600-pound steer. He
then wrestles the steer onto its side; when all four legs are tied and point in the
same direction, the clock stops. (PRCA 14)
After the final wrestling team begins to exit the arena, three clowns roll barrels out onto the arena floor for barrel racing. The emcee emerges downstage center, introducing
Barrel Racing.
24 Act 6: Barrel Racing
Estimated Running Time: 5:22
Barrel Racing is a key fixture in rodeos across the national circuit. Although, the
majority of competitors in rodeo are male, it is important to note that all events are also
open to women. Today, female competitors are governed under the Women’s Pro Rodeo
Association. Barrel racing is the most popular female event in rodeo, and participation is
restricted to female participants.
There are only two factors in barrel racing – the clock and whether horse or rider
tips over a barrel, which add five seconds to the time. As the horse and rider enter
the arena, an electronic eye starts the clock. The rider may elect to circle around
either the left or right barrel first, then the other side, before circling the barrel at
the end of the cloverleaf pattern and accelerating her horse out of the arena. The
event is often won or lost by hundredths of a second. (PRCA 15)
Three riders will each take a single run around the barrel racing “track” during the
performance. The speed and agility of the horse is what determines the overall time of
the run. The emcee will again divide audience into three groups. Each group will be encouraged to cheer on their respective competitor. Each group will be represented by a
single competitor.
At the end of the act, all three riders circle counter clockwise around the arena,
and exit. Immediately following their exit, three clowns begin to remove the racing
barrels. The emcee reenters and begins introducing Bronco Riding.
25 Act 7: Bronco Riding
Estimated Running Time: 4:01
Bronco Riding is one of the original events that took place at the first documented rodeo at Deer Trail, Colorado in 1869. Originally derived from the breaking of wild horses to ride for ranch work, this event is still one of the sanctioned events of PRCA
Rodeos, and is a large draw to audiences today. (PRCA 11)
In rodeo’s classic event, the saddle bronc rider sits on a specialized saddle – it has
no horn, and the stirrups are set forward. In the chute, the cowboy adjusts his grip
on the rein and perhaps the horse’s position. When the gate opens, his boots must
be above the breaks of the horse’s shoulders. After the horse’s first move, usually
a jump, the cowboy begins spurring in long, smooth strokes, in sync with the
horse’s jumps – legs straight when the bronc comes down, toward the back of the
saddle at the top of the jump. His only handhold is a six-foot braided rope; his
free hand may not touch his equipment, his body or the horse. (PRCA 14)
Again, three runs will take place during this act of the show. Each cowboy will attempt
to complete an eight second ride. Bronco riders will begin in the livestock chutes located
upstage. On the bronco riders command, the gate will open beginning the eight second
ride.
At the end of the act, the Bronco Riders exit, leaving the clowns. The Emcee
appears downstage center, introducing Bull Riding.
26 Act 8: Bull Riding
Estimated Running Time: 4:40
The most dangerous and most exhilarating event of the rodeo, bull riding, is a natural choice for the final rodeo event of the show. Speed, agility, and the simple ability to remain atop a bucking animal create the energy and entrancement of the audience.
Bull riding has become the most prominent event of the rodeo, with its national finals held in Las Vegas each year. It is regulated by its own association known as the PBR, the
Pro Bull Riders Association. Many bull riding events are televised to a worldwide audience throughout the year.
Bull riding is rodeo’s most dangerous event. In the chute, the bull rider settles on
the bull’s back, wraps his braided rope around the bull’s girth, the loops the rope
around his hand and back into his palm so he can grip it tightly. When he nods,
the gate is opened and the bull lunges out of the chute. Spurring is optional, the
primary goal is to stay on for eight seconds without touching himself, his
equipment, or the bull with his free hand. The cowboy will be scored highly for
staying in the middle of the bull, in full control of the ride. (PRCA 14)
For the purposes of the production of Rodeo West, the goal of staying on the bull for the full eight seconds is the goal of the act.
27 Act 9: Finale
Estimated Running Time: 6:00
The finale devised for Rodeo West pays homage to the heartland and the Western
United States of America, the area that bore western culture and rodeo. The production
comes full circle with a tribute to the United States which draws from Act 1:
Opening/Grad Procession. Selected musical numbers honoring America, its citizens, and
the culture of rodeo and ranch will be presented as a part of the finale. All the
participants and their respective livestock or horses will make a grand reentrance into the
arena for end of performance bows.
Soundtrack
The soundtrack for Rodeo West is one instance to make a direct connection to the
modern audience. Each scenes soundscape creates an entrance point into the acts that are
being portrayed on stage through the use of music that the audience might be familiar
with. Chosen musical selections contribute to the forward motion and historical
development of the acts.
The music selected for the soundscape Rodeo West is preexisting recorded
country, western, and popular music. For the historic portion of the show, the soundtrack
will utilize theme songs from notable early western films and compositions that draw
upon the western culture of the past. The soundscape for the middle and ending portions
of the show will transition into modern country music selections and crossover country
rock music. Some key artists may include Brooks and Dunn, George Strait, Billy Dean,
28 Martina McBride, and Kenny Chesney. It is important to note that the soundtrack will
parallel the development of the historical timeline of Rodeo West.
Cast
Rodeo West will be performed by a wide variety of performers and athletes
brought together for this one of a kind show. Leading the show and driving the forward
progress is the Emcee, who also acts as the narrator. Supporting the performances and
serving as extras are the eight singers with western dance experience. Rodeo West will
utilize four male and four female singer/dancers who add live vocals and dance to the
pre-recorded music and allow for an extra boost of energy during the performance.
During the Grand Procession and Finale, the singers are featured performers vocally and
in dance. They will be featured along the downstage edge of the stage with the emcee,
filling the void between the introductions of each group of performers. During the
remainder of the show, the singer/dancers reside primarily on the upstage platforms.
Singer/dancers will fill the transitions between acts and rodeo event runs through country
western style dance and singing. Lastly, the singers serve as passengers in the Robbing
of the Stagecoach.
The rodeo acts will consist of four bull riders, four bronco riders, eight livestock
ropers/steer wrestlers (four teams of two), four barrel racers, four trick ropers, and two stagecoach drivers. The full company will participate in the opening procession of the show and in the closing of the show. Typically rodeo events will consist of three runs.
The fourth bull rider, bronco rider, barrel racer, trick roper, and livestock roper/wrestler
29 will be on stand by ready to go in at a moments notice in case of injury or unforeseen issue.
Safety
Safety of the performers, livestock, and audience is the biggest concern for the design of the Rodeo West.
Safety of the animals used in rodeo events is of the utmost importance to the performers. Each rodeo event was developed from everyday ranch operations. The procedures for each event, specifically roping events, developed from the collection of livestock for sale at market. The Professional Rodeo Cowboy Association rules of conduct include an entire section that deals exclusively with the treatment of animal competitors. There are over 60 rules dealing with the care and treatment of the livestock used in the different roping and bull riding events. These rules are upheld by judges of the PRCA, and violations are reported as they are discovered. (Livestock 1)
In order to achieve a safe environment, the separation of the audience and livestock is of utmost importance. Safety fencing will be incorporated into the scenic design of Rodeo West. Events such as bull riding and livestock roping require distance from the audience and quick exits for the livestock. Creating elegant livestock chutes and masking the entrances and exits of the space is an equally difficult challenge.
The minimal scenic design leaves a maximum of floor space for the performance of the show and movement of the animals. Scenic elements will include an expansive western skyline/landscape translucent backdrop allowing spectacular time of day lighting
30 and great color combinations. The stage will be dominated by a dirt floor and platforms over the launch chutes. Traditional rodeo elements including barrels placed in the arena during the appropriate acts (barrel racing) will be brought on and removed as necessary.
Designing lighting looks for live animals is another safety concern. Lighting compositions with concert style moving light looks and the utilization of lower lighting angles will be utilized when high temperament animals like bulls and steers are not present on the arena floor.
During the rodeo acts such as bull riding, livestock roping, bronco riding, and steer wrestling, lighting looks will be kept as simple as possible. Lighting angles will be kept steep with down light and pipe end angles used for the livestock scenes. This will aid in minimizing onstage movement and allow livestock to become more manageable by cowboys and animal handling staff. For the safety of the cowboys, lighting will be kept at a medium to high intensity to allow for maximum visibility of the arena. Marking lights will be mounted along the downstage fencing at floor level to allow for cowboys to locate their position in the arena easily.
Costumes for Rodeo West must deal with the safety of the performer’s body and the athletic demands of the various events. Many rodeo cowboys utilize Kevlar Vests to help protect from stray kicks that the livestock might exert. Cowboys in Rodeo West will wear Kevlar Vests concealed under costumes. While Kevlar Vests may not completely prevent injury, it is a form of protection against serious injury. (IGRA 1)
31 Chapter 5: Design Considerations
Scenic Design
Scenic design elements were first introduced into the performances of Buffalo
Bill Cody’s Wild West Show in the 1880’s. Cody’s show began to tour extensively with the addition of large scenic elements that helped to portray the image of the western states onto any arena or venue that Buffalo Bill Cody’s Wild West Show might play. At the center of the scenic design was the expansive painted backdrop that aided in the transformation of the space into the landscape and horizon of the western United States.
Constructed set pieces, including the settler’s cabin, were placed in the arena. The painted backdrop and set pieces helped to create the ambiance and allure of Cody’s home ranch and surrounding areas of Nebraska and Wyoming. Scenic elements served as a masking to the backstage areas and provided dramatic entry points into the arena for the performers, animals and acts.
Image 1: Photograph of the staging of the Robbing of the Deadwood Stage. The space required for the production of the show and the expansive painted backdrop is apparent. (Rosa 123)
32 The painted backdrops, the settler’s cabin, and the recreation of the landscape terrain of Cody’s Nebraska and Wyoming Ranches became of the utmost importance as
Cody’s show began touring the European continent. In Europe, the company played both indoor and outdoor venues which had no resemblance to the terrain of Cody’s ranch.
One of the greatest transformations of space with scenic elements took place in the first overseas stop, London, England. Prior to the arrival of the company, a performance site was scouted out. Construction began on the performance grounds prior to the company's arrival:
Image 2: This image shows the expansive space required for Buffalo Bill’s Wild West Shows. (Rosa 186)
“Spectators looked down on a mostly dirt arena about a third of a mile in
circumference with the side farthest from the crowd sloping upward. From this
sculptured earthen incline rose painted scenery of great height” and five hundred
feet in length that blocked out the urban landscape. Rocks and trees hid those
places where the scenery met the ground. The visual image of the far end of the
33 arena was a “rocky pass in the mountains.” From there, riders would burst into
view. (Reddin 90)
In December of 1887, the company’s tour arrived at the Manchester racetrack.
Extensive preparations were made at the newly constructed indoor venue utilized by
Buffalo Bill’s Wild West Show.
Workers constructed the New Colossal Building, an enormous edifice with steam
heat and electrical lights. The facility combined the lighting and elaborate sets
characteristic of stage performances with the immensity and grandeur of outdoor
spectacles. (Reddin 95)
The use of dramatic and scenically masked entrances for performers illustrates the use of the theatrical convention of masking. Scenic masking was utilized to hide the inner workings of the show, the staging areas for the animals and the performers, and aided in
creating a clean and more polished production.
In contrast to the designs of Cody’s Wild West Shows, rodeo arena designs serve a more practical non-theatrical purpose. Given the commercial nature of Rodeo events today, licensing and product placement have become a large consideration in the design of Rodeo equipment. Product logos and branding serve as financial sponsorship and support for large rodeo events and for individual competitors. Justin Boots, Dodge
Trucks, and Wrangler Western Wear are three prominent product sponsors for the PRCA
(Pro Rodeo Cowboy Association) Tours. Hence their logos and products are seen throughout the rodeo arena and rodeo grounds. (PRCA 7)
34 Surrounding a standard rodeo arena is tubular aluminum fencing that can be found on many ranches across the United States. The livestock chutes, the box, and staging areas are typically constructed of the same material.
Figure 1: Layout of a rodeo arena. At the bottom of the figure are the livestock chutes where events typically begin. (Rodeo Arena 1)
The exact layout of a rodeo arena is determined by the size and arrangement of the presenting venue. The Bronco/Bull Riding Chutes may be placed in an area away or in close proximity to the Box and Steer Roping/Wrestling Chute. The Box and Steer
35 Roping/Wrestling Chute are always located together, with one box on either side of the chute. Livestock staging areas are typically located under seating risers and out of the view of the audience. In indoor arenas, livestock staging areas are often located outside of the building or in open spaces out of the main performance arena. Audience is typically seated in arena style seating (seating on all four sides of the rodeo arena). Some venues do utilized a thrust style seating arrangement (audience on three sides of the arena).
Rodeo West will be performed in an indoor 850 seat proscenium configuration with significant apron and backstage space. The proscenium architecture allows for the use of a false proscenium to transform the space into the warm and sepia color tones that are seen throughout images and paintings of the western expansion. The backdrop will be an expansive translucent drop painted with a representation of the horizons of the western plains, covering the full with of the stage.
Figure 2: Rendering of the translucent drop front for Rodeo West. Inspiration for the drop is taken from Thomas Hart Benton’s Wyoming Autumn which was produced in 1958 (Benton 63).
36
Figure 3: Rendering of the translucent drop back for Rodeo West. The coloration of the back of the drop is more saturated to allow for greater depth of color depending on how the drop is lit. When lighted from the front, the color will appear more pastel and muted. This will create a more historical feel to the composition of the stage. When lighting from the back, more primary colors will become apparent, giving a more modern feel.
Figure 4 Layout of the arena for Rodeo West. Upstage is located at the top of the image. Downstage is located at the bottom of the image.
37 Just downstage of the translucent backdrop live the livestock chutes that serve as
the entry point for the bull riding, bronco riding. Above the bull riding and bronco riding chutes are several platforms intended for use as a dancing space for live signers and dancers. The singer/dancer platforms range in height from 7’-6” up to 12’-0”. A separate livestock chute and boxes for livestock roping and wrestling will be place in the
stage left wing, and removed after the act. Entrance points for larger items like the
stagecoach and animals are located both the stage left and the stage right side of the
performance space. Separate entrances will allow the stagecoach and animals to enter the
arena at full speed, a detail that was very important to Buffalo Bill Cody in order to create
historical authenticity in the performance. Stage left and stage right entrances will be
masked by painted legs that replicate the same western vistas that are seen in the
translucent backdrop.
Figure 5: Scenic Rendering of Rodeo West. Upper platforms are four feet wide, and are seated on top of the cattle and bull riding chutes. Safety railings are present on top of each platform as well as on the stairs. 38
One of the most critical elements of Rodeo West is the fencing surrounding the
arena. Fencing will aid in the separation of the audience and animals, ensuring the safety
of both. High impact areas near the livestock chutes and performer entrance points will
be lined with padding to alleviate injuries to performers. The padding of high impact
areas of a rodeo arena is currently utilized throughout the Pro Rodeo Tour.
The arena floor is six inches of packed earth with a 1”-2” layer of loose earth on
top of cement. Compacted earth allows for good traction for the animals and livestock.
Loose earth on top of packed earth aids in softening the landings of cowboys who become separated from their animals.
Sound Design
The aural traditions of Buffalo Bill Cody’s Wild West Show played an important
role in the performance. Buffalo Bill Cody’s Cowboy Band accompanied the show,
providing a soundscape for the action being presented in the arena. The band also served
as a public relations tool, performing in the Grand Procession as the company arrived a new city. They also performed throughout each city Buffalo Bill Cody’s Wild West
show visited.
The aural aspect of the show was powerful, even intimidating at times. The
cowboy band played “most of the time: and added dramatic impact to happenings
in the arena. The hooves of fast-moving horses pounded the earth. In addition
there was “the tremendous noise of the blank cartridge…the terrific whoops of the
39 painted warriors” and cowboys intent on proving that “they could fire blank
cartridges more quickly than the red man and could yell louder too.” (Reddin 67)
Rodeo relies on sound in a different manner. Often there is lag time between the competitive runs of an event as the equipment is reset between runs. This is especially true in the events of Barrel Racing, Bull Riding, and Bronco Riding. Typically recorded popular music is utilized for this purpose. Music is also used to underscore the introduction of each competitor and for the presentation of each competitor’s score.
Genres of music presented span country music, rock and roll, alternative, and country/rock crossover artists.
Rodeo West will use recorded music combined with live vocals in the presentation of the show. Music will coexist with rodeo acts, underscoring the rodeo events and covering the time it takes for show staff to reset the arena between contestant’s runs.
Lighting Design
The lighting design concept is based on the paintings of Thomas Hart Benton.
Works created by Thomas Hart Benton center on capturing the essence of both city and rural lifestyle in the late 1800’s, the same western culture and lifestyle that Buffalo Bill
Cody’s Wild West Show was portraying live on stage. Scenes captured by Thomas Hart
Benton include the gathering of crops, the herding and working with livestock and horses, the interaction between human and animal, and the social interaction between humans.
40
Image 3: The artwork of Thomas Hart Benton is the inspiration for the lighting design of Rodeo West. The left image is Henry Look Unhitching. (Burroughs 122) The right hand image is The Ballad of the Jealous Lover of the Lone Green Valley. (Adams 214)
The color palettes of Thomas Hart Benton’s work are typically earth toned. Each work has a rustic and historical feel, yet exudes great energy, passion and movement in the
depiction of the subject. Strong indications of lighting angle and focus complete
Benton’s works. The lighting design for the historical scenes of the show, Acts 2-5, will
recreate the color, intensity, and angles of light seen on the western plains and recreated
in the paintings of Thomas Hart Benton.
The lighting design choices for Act 1 and Acts 6-9 will continue to be based in the
artwork of Thomas Hart Benton. Added to the earth toned color pallet established in
Acts 2-5 will be concert and entertainment style lighting effects. Moving lights and the
movement of light beams will be integrated into and reinforce the established earth toned
color pallet. Beam movement will heighten the visual composition of the show. Creating
movement and interest during transitions between acts and during the preparation of
cowboys for competition is an issue that lighting effects will aid in solving.
41 Rodeo has taken a technological approach to its presentation of the colors of the
United States of America and the national anthem. The color presentation and honoring of America is typically illuminated using a concert style lighting plot integrating conventional lighting fixtures and moving lights. Some rodeo presentations, including
Rodeo Austin, combine special effects, such as laser rigs and pyrotechniques, into the honoring of the United States and the opening of the rodeo event. The use of theatrical lighting and special effects is a high energy introduction and opening to the Rodeo.
To accomplish the lighting design concept of Rodeo West, the lighting plot will contain both conventional lighting fixtures and moving lights. This combination of technology will allow the designer maximum control over the space while developing the proper angle and balance of intensity in the lighting composition. Conventional fixtures will be utilized to create the primary angles of light: high sides from stage left and stage right, low sides from stage left and stage right, and down light. Moving lights will serve as specials to highlight and draw focus singers, the emcee, and rodeo performers during their solo acts.
Designing with live animals requires the designer to take into account the different temperaments and traits of animals. Livestock and horses tend to respond mainly to movement, as opposed to strictly the intensity of light. Therefore, the use of moving lighting fixtures and special effects will be limited when broncos, bulls, and steers are present in this arena. Restricting the lighting effects during Bull Riding,
Bronco Riding, and Steer Wrestling will aid in the safety of the animals and the safety of human performers.
42
Costume Design
Costume design also played a large role in the performance of the Wild West
Shows produced by Buffalo Bill Cody. A reporter commented in 1889: “Cody’s outfits set the standard for colorful costumes. In his embroidered magenta hunting shirt and white sombrero and with his long hair flying in the breeze he looks every inch of the ideal scout.’” (Reddin 67) The distinction between characters was incredibly important in the presentation of these types of shows. With various types of performers like
Indians, Vaqueros, and Cowboys taking the stage, it was essential that these individuals be dressed as authentically as possible to the romanticism of the western expansion and lifestyle that was central to Cody’s productions.
In contrast, rodeo clothing demands functionality in movement as well as protection from the animals and dirt/dust present in the arena. Modern rodeo cowboys are typically clad in Wrangler blue jeans and button down western style shirts. Rodeo clothing is also branded much like the décor of a modern rodeo arena, and become a marketing platform for competition and rider sponsors.
The costume design for Rodeo West moves through four distinct looks, each drawing on a unique inspiration. Act One will draw upon the work of the late fashion designer Alexander McQueen. His Pre-Fall 2009 Collection illustrates western wear integrated with high fashion. McQueen utilizes clean lines and earth toned coloration that will compliment the lighting design. The use of similar color pallets in both lighting and costume design will allow for the vibrancy of earth tones to be brought out of the
43 clothing. This color pallet will create a formal, dressy, and visually stimulating look to the grand procession, and will aid in honoring the United States of America.
Image 4: Western inspired clothing collection by the late Alexander McQueen. (McQueen 1)
Acts Two through Five contain content that is representative of the first Wild
West Shows and Rodeos. Costumes will also present a glimpse into the visual presentation of the performers of the first Wild West shows. Design is inspired by the historical photographs of Wild West Shows and Rodeos. Western shirts and pants will replicate the style of the mid 1880’s. Due to the rapid costume shifts and all performers being utilized in Act One, wigs and facial hair will not be utilized. Instead, hats and neckwear will be integrated to create nuances between the different performers through coloration and style.
44
Image 5: Western wear worn by the performers in Buffalo Bill Cody’s Wild West Show. (Rosa 78)
Acts Six through Eight utilize the fashion that is seen in the rodeo arena today.
Contestants typically wear western shirts and blue jeans manufactured by Justin or
Wrangler. Today’s rodeo fashion typically includes branding by contestant sponsors which is prominently displayed on the western shirts and Kevlar vests. The use of branding logos will be restricted to the Rodeo West Logo. The logo will be displayed on the right sleeve of the shirts worn by performers.
45
Image 6: Western shirts and jean styling worn by current rodeo competitors and country musicians performing in association with rodeos. (ESPN 23, 2)
Clothing for Act Nine, The Grand Finale, focuses on the western inspired collection of Tommy Hilfiger. His work illustrates the red, white, and blue coloration of the United States of America. This coloration is required for the closing of Rodeo West to visually represent the pride, dedication, and honor in the country that bore Buffalo Bill
Cody’s Wild West Show and Rodeo. The clothing is presented in a modern and western feel, with an element of sensuality. It should be noted that the paint work present on the jeans in most images will not be present.
Image 7: Western inspired clothing collection by Tommy Hilfiger. (Hilfiger 51, 50, 48, 52)
46 Chapter 6: Conclusion
The development of the creative concept, writing, and design of Rodeo West, a
new themed entertainment attraction for the Theme Park Industry, illustrates my abilities as a diverse and marketable artist and creator of new work. Assuming the role of producer and creator has forced me to integrate my studies in the creation of story through design and to apply it my artistic skills to the development of concept.
Approaching Rodeo West with a director’s eye has further challenged me to edit and balance the concept between all elements of the show. I have been forced to look at the production as a whole rather than focusing on only a lighting design concept and my typical role as a lighting designer. Working in the concentrations of scenic design, lighting design, costume design, and audio/soundscape design have forwarded my development as an artist.
Rodeo West is created to extend beyond the reach of rodeo and of western culture.
The show incorporates historical context and grounds itself in the basis of culture and tradition. Through the creation process the story and design elements have come together to represent one cohesive design concept tied together though threads of storyline and connecting dialogue. At the core of this process is a show that honors the structure and traditions of Rodeo and Wild West Shows. A further goal is to prepare documents for a pitch to a major Theme Park/Themed Entertainment Corporation for inclusion in their themed entertainment offerings.
47 Appendix I: Rodeo West Show Script
Attraction Location
The audience enters the venue, passing through the stable/staging area where the animals and performers prepare for the presentation of the show. Once inside the venue, the audience is treated to the preset look of the stage, which replicates a rodeo arena set
in the Western United States.
The translucent backdrop illustrating a landscape of the Western United States is the
primary feature of the preset. All platforming, livestock chutes, and fencing is in place
when the audience enters the space.
Act 1: Opening/Grand Procession
The rodeo arena is rustic yet modern in design. Upstage is a translucent backdrop that is painted to mimic the horizons of the western plains. The translucent drop covers the full
with of the stage. Just downstage of the translucent backdrop are the livestock chutes that serve as the entry point for the bull riding, bronco riding. Above the bull riding and
bronco riding chutes are several platforms intended for use as a dancing space for live
signers and dancers.
Entrance points for larger items and animals are located both the sage left and the stage right side of the performance space. Each entrance has considerable running distance to allow performers and animals to gain speed for entry into the arena. Stage left and stage
48 right entrances will be masked by painted legs that replicate the same western vistas that are seen in the translucent backdrop. Downstage, a simply clad safety fence protects the viewers from animals. Around the auditorium, items of the west, ropes, tools, and other
accessories adorn the walls of the space. Hand rails on the stairs of the theatre mimic
the designs of fencing and are an extension of the scenic design.
The auditorium dims as the emcee enters the arena and crosses to the upstage center
platform. He is dressed in Western Wear indicative of modern times: black pants, a
white western style shirt and black blazer.
EMCEE
Ladies and gentleman, in the grand tradition of the west and rodeo, would you please silence your cell phones, remove your hats, and stand with us as we honor our forefathers, our country, and the great inhabitants and culture that has defined and shaped the history and future of this great nation.
Under the previous dialogue, a single horse and rider enter the arena with the American flag. Following behind are state flags and/or other appropriate banners to be presented.
The singers appear on the upstage platforms next to the emcee. Riders and singers are dressed in western ware indicative of modern times. Men are in grey or brown western style pants and western style shirts. Women are in western style skirts and shirts also in
shades of grey and brown.
49
ALL SINGERS
Oh, say can you see by the dawn's early light
What so proudly we hailed at the twilight's last gleaming?
Whose broad stripes and bright stars thru the perilous fight,
O'er the ramparts we watched were so gallantly streaming?
And the rocket's red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there.
Oh, say does that star-spangled banner yet wave
O'er the land of the free and the home of the brave?
Direct transition into the grand procession, the flag bearers begin to move through the
arena to meet with the rest of the procession. The procession enters the arena in the
following order: flag bearers, trick riders/ropers, livestock ropers, steer wrestlers, barrel
racers, bronco riders, and bull riders. As the intro music begins, lighting expands from
the upstage platform and flag bearers and engulfs the arena utilizing down light and high
side angles. Concert style lighting moving light effects cascade the audience and arena.
The lighting exposes the vastness of the space. Also unveiled is a live band located
upstage on one of the lower platforms.
EMCEE
50 Western culture: a way of life. Western life: the development and settling of the Western
United States. Rodeo: a way of life and competition. The animals and their companions: a match made on the ranch and in the west.
Riders and Animals begin to enter the arena. Performers are dressed in western ware
indicative of modern times. Men are in grey or brown western style pants and western
style shirts. Women are in western style skirts and shirts also in shades of grey and
brown.
They parade to center, cross downstage, and then progress around the arena. The
parade moves from the stage right entrance to center stage. Participants turn at center
and move directly downstage center to the fencing. After each act is introduced, they
move to the side (alternating sides) and take their place along the downstage fencing.
Lights fade up on the soloists located on the upstage platform.
MALE SINGER 1
Well life on the farm is kinda laid back
Ain't much an old country boy like me can't hack
It's early to rise, early in the sack
Thank God I'm a country boy
MALE SINGER 2
51 Well a simple kinda life never did me no harm
A raisin' me a family and workin' on a farm
My days are all filled with an easy country charm
Thank God I'm a country boy
ALL SINGERS
Well I got me a fine wife I got me a fiddle
When the sun's comin' up I got cakes on the griddle
Life ain't nothin' but a funny funny riddle
Thank God I'm a country boy
MALE SINGER 1
When the work's all done and the sun's settlin' low
I pull out my fiddle and I rosin up the bow
The kids are asleep so I keep it kinda low
Thank God I'm a country boy
MALE SINGER 2
I'd play sally goodin all day if I could
But the lord and my wife wouldn't take it very good
So I fiddle when I could, work when I should
52 Thank God I'm a country boy
ALL SINGERS
Well I got me a fine wife I got me a fiddle
When the sun's comin' up I got cakes on the griddle
Life ain't nothin' but a funny funny riddle
Thank God I'm a country boy
EMCEE
We present to you the cast of West. Ropers, sharp shooters, stunt riders, bull riders all
here to pay homage to the traditions of the western competition, the western exposition,
and foremost western culture.
All performers and livestock in the performance are now in the arena. Stunts and tricks
that are easily performed are simultaneously inserted for the remainder of the next verse.
Tricks are highlighted by lighting specials.
ALL SINGERS
Well I wouldn't trade my life for diamonds and jewels
I never was one of them money hungry fools
I’d rather have my fiddle and my farmin' tools
Thank God I'm a country boy
53
Yeah, city folk drivin' in a black limousine
A lotta sad people thinkin' that's mighty keen
Son, let me tell ya now exactly what I mean
Thank God I'm a country boy
Well I got me a fine wife I got me a fiddle
When the sun's comin' up I got cakes on the griddle
Life ain't nothin' but a funny funny riddle
Thank God I'm a country boy
Singers begin to cross off of the upstage platforms to the downstage edge of the arena
floor. Other acts with the exception of trick riders begin to exit stage left and
stage right. Acts split at center and move along the downstage fencing until they
are out of the arena.
ALL SINGERS
Well, my fiddle was my daddy's till the day he died
And he took me by the hand and held me close to his side
Said, live a good life and play my fiddle with pride
And thank God you're a country boy
54 My daddy taught me young how to hunt and how to whittle
Taught me how to work and play a tune on the fiddle
Taught me how to love and how to give just a little
Thank God I'm a country boy
Trick riding stunt under next 4 lines. The rider and animal move in a counter clockwise
motion of the arena
Well I got me a fine wife I got me a fiddle
When the sun's comin' up I got cakes on the griddle
Life ain't nothin' but a funny funny riddle
Climax of final trick riding stunt as the animal and rider move counter clockwise around
the arena. The rider does a handstand on top of the moving horse and exits on the
last line of the song.
Thank God I'm a country boy
Thank God I'm a country boy
Lights down to silhouette of the singers and emcee along the downstage fencing on the
music end. Exit of singers and stunt rider. Quick restore with underscoring on
the Emcee (who has not yet changed costumes).
55
Act 2: Robbing of the Stage Coach
Lights restore with the start of the underscoring music. Lighting is specials on the emcee
located downstage center. Lighting expands and follows him as he moves stage right.
EMCEE
“America is a land of wonders, in which everything is in constant motion and every change seems an improvement. The idea of novelty is there indissolubly connected with the idea of amelioration. No natural boundary seems to be set to the efforts of man; and in his eyes what is not yet done is only what he has not yet attempted to do.” Alexis de
Tocqueville.
With the settling of the Louisiana Purchase and the national emphasis on the Westward
Expansion came new forms of travel and necessities in order to support life in the West.
The Pony Express, Steam Ships, and Railroads began to pop up all across the western territories. But, one of the long standing forms of transportation, and the most flexible, was the stagecoach. Transporting goods and persons all across the west, it became an integral part of the success of the Westward Expansion.
The emcee exits.
Traveling back in time, we are in the 1890’s at the height of the Buffalo Bill Cody Wild
West Show presentations.
56
Lighting transitions from the spectacle/concert/moving light looks that are seen in the
opening to lighting looks reminiscent of the wide open dusty plains. Warm down light
encompasses the stage. Low side texture cuts in from the pipe down stage left and stage
right. Down light special on the upstage platform continue highlighting the
singers/dancers and the emcee.
From the Stage Right, a stagecoach enters and begins loading trunks and bags of goods
bound for the west. Also, the singers have reappeared and board the stagecoach as
passengers. Males are dressed in 1890’s style western suits varying in earth toned
colors. Each has pants, shirt with varying tie styles, jacket, and hat. Women are dressed
in 1890’s style dresses in earth tones. Accessories such as shawls or hats may be utilized
for the women.
While an effective means of transportation, the stage coach, its operators, and its
inhabitants often encountered unforeseen dangers as they crossed the large and expansive lands of the Western United States
After the gear is loaded, the stagecoach and team of horses begins its journey westward
(around the arena). Speed and accuracy of the hoarse team is demonstrated in this
section as the coach is navigated around the arena/obstacles.
57 A band of robbers enter from Stage Left. They begin to chase the stage coach and head it off at one of the curves. They begin to loot the coach and a battle ensues with the drivers of the coach. Passengers are held and crates are opened and ransacked. Just as the first
crates are being opened, the law arrives from Stage Left and a gun battle ensues
Act 3: Trick Riding/Roping
The robbers head for their horses and the law begins pursuit. Each robber is picked off
one by one by roping, and is apprehended. (to take about one minute).
Upon exit of the stagecoach and riders, the three trick ropers begin their main act. They are located stage center, one quarter stage right, and one quarter stage left. Items used
to rope (including fence posts, crates, and other small objects appear). As the trick
riders enter, costumed property movers (might also double as rodeo clowns in later
scenes) enter to place the needed props and element for the trick roping.
Warm high sides fill the space as the warm template of the previous scene fades away.
Down specials are added stage center, one quarter stage right, and one quarter stage left
for the trick ropers. Warm down light intensifies throughout the scene.
The lead roper moves to the downstage area and performs his full routine (jumping through rope, roping from horse back, etc.). All three roping parties mount their horses,
58 and all begin circling clockwise around the arena. As each roper passes along the
downstage of the arena, roping tricks are performed.
Begin entrance of the trick rider from stage left, ropers exit on stage right. S/he performs
stunts including handstands, riding underneath the animal, etc. For the finale, two
horses are used for the act, with standing on two horses, handstands, etc. being
performed. A lighting transition to a dim look focusing on the emcee on the upstage center platform occurs. The removal of property elements from the previous scene takes
place.
Act 4: Roping Livestock
EMCEE
Rodeo, the competition tradition of the cowboy and the west began to develop post-civil war from some of the very events that we have just seen. Many say that the first rodeo was born in 1869 when groups of cowboys from neighboring ranches met to settle arguments over who was the best at performing everyday cowboy tasks. Capturing calves and full grown cattle for branding, medical needs, and sale required fin roping and riding skills on the large and less than ideal terrain of the frontier ranches were central to the first rodeo. By the early 1900’s, rodeos and western shows had popped up and were performing all across the nation and world. Those original events lead us to today’s
59 events of Tie-down Roping, Team Roping, and Steer Roping. These events demonstrated the skills, dexterity, and athleticism of western man. (PRCA 11)
The steers enter the arena from a chute placed in the stage left wing. The mounted cowboys enter from the same place. Team roping is presented first. Three or four runs
are presented, depending on the time of each run.
The transition is made to tie-down roping. Two or three runs are made, with the steers again entering from the upstage chute, and the mounted cowboys entering from under the
platforms as well.
Warm template low sides from stage left and stage right fade back in bathing the space in
broken light. A pathway of light is created from upstage left to downstage right for the animals and ropers to follow. Warm down light and special on the singers/dancers and
emcee on the upstage platform continue presence.
Ropers are dressed in 1890’s style western suits varying in earth toned colors. Each has
pants, shirt with varying tie styles, jacket, and hat.
Lighting fades down to a transitional look, allowing for resetting of the space. A special
lights the emcee on top of the upstage center platform.
60 Act 5: Steer Wrestling
Six horses enter the arena as the next track begins. They circle the arena during the
Emcee’s dialogue. The Emcee and singers are once again atop the platforms above the
chutes.
EMCEE
Steer wrestling: one of the most dangerous events in rodeo. The horns of the steer can pierce a man’s flesh like a knife. Springing from a chute, a 500-600 pound steer is wrestled to the ground by the bare hands of the cowboy. Leaping from a horse moving at
upwards of 30mph, steer wrestling takes agility, athleticism, stamina, and above all
strength. (PRCA 14)
The emcee exits.
The three riders take their places at the head of the chute as the verse begins. Warm
amber high sides from stage right and cool high sides from stage left fill the arena.
Downstage center a pool of texture light provides the final destination for the steer
wrestlers. A pathway of light is built from the upstage chutes to downstage center.
Wrestlers are dressed in 1890’s style western shirts and pants varying in earth toned
colors.
61 ALL SINGERS
We made camp along Red River
Watched the cattle as they bedded down
Back at the wagons, right after supper
We spread our bedrolls on the ground
And me and Willie, we took the night guard
And the sage never smelled so sweet
The prairie moon, was blazin' silver
No chance tonight for a stampede
Run number one begins.
Way over yonder, off in the distance
Towards the mountains there in the west
Did I see lightnin', did I hear thunder
My mind is weary, I could use some rest
Then all at once, the wind shifts directions
The clouds roll in behind the tumbleweeds
These longhorn cattle, are gettin' restless
God help us all, if they stampede
62 Run number two begins
Smell the rain, hear the thunder
The midnight sky, turns black as death
The lightnin' crashes, smell the sulphur
It's rank and strong, it's Satan's breath
The cattle rise up, and go to runnin'
I spur my pony on and take the lead
And across the herd, I can hear Willie yellin'
Hey Stampede!
Run number three begins.
Dust clouds rise, as the rain falls
They mix together, turn the air to mud
I feel the longhorns brush against me
And I can feel the demons racin' through my blood
Then all at once, my pony stumbles
We hit the ground, I rise up to my knees
In a flash of light, I can see the cattle comin'
Lord I know I'm gonna die in this stampede
63 Then I awake, and I look around me
I'm in my bedroll and I'm layin' on the ground
Over there's the wagon, and there's the campfire
I was only dreamin', but what's that sound?
Then I feel the earth tremble underneath me
As the midnight sky begins to bleed
And from the blackness I can hear Willie yellin'
Hey Stampede
As the arena clears, three barrels are rolled out by the three rodeo clowns and placed for the next event. One barrel is DSC, one is USR and the last is USL. Down light is present
on the arena floor with single down specials on the final placement of each barrel.
Scene 6: Barrel Racing
The emcee enters in a special down stage center. We begin to make a shift in period, as
the more modern rodeo events are presented. Clothing is reminiscent of modern rodeo
competition. The clowns take their places in the barrels, and begin to provide comic
relief as transitions between contestants is made.
EMCEE
Rodeo has continually been a primarily male sport. However, that is not to say that countless women have not made their mark in competition. From the beginning of ranch
64 life, women learned to rope and ride as the frontier expansion pushed through the west, however they were seldom allowed to participate in work on the ranch.
A silhouette of the female riders develops along the US drops.
Then in 1903, women began competing at the Cheyenne Frontier days. Women are permitted to compete in any event, but they have left their largest and most dynamic mark in the female only event of Barrel Racing. Today, barrel racing is one of the staples of rodeo. It is an event that is reliant on the speed and agility of not only the animal, but the strength, speed, and agility of the rider.
With the kick in of the music, the three barrel racers come downstage off of the
platform and take their places in the start chutes under the upstage platforming.
The singers/dancers enter and take their positions on the upstage platform.
A Track of light is constructed with moving lights replicating the track of the
barrel racers. Cool low side template from stage left baths the arena. Specials
on the upstage platform highlight the singers/dancers and emcee. Moving light
looks begin cascading the audience and arena between the barrel racing runs.
FEMALE SINGER 1
65 Lock up your husbands
Lock up your sons
Lock up your whiskey cabinets
Girls lock up your guns
And Lock up the beauty shop
No tellin if they've heard the news
Call the boys downtown and Neiman Marcus
Tell Em' lock them high heeled shoes
The first horse enters from the start chute and the horse and rider begin their run
around the three-barreled course.
ALL FEMALE SINGERS
When God fearin' women get the blues
There ain't no slap down a tellin what they're gonna do
Run around yellin
I've got a mustang it'll do 80
You don't have to be my baby
I stirred my last batch of gravy
You don't have to be my, be my, be my baby
FEMALE SINGER 2
66 Call all the decons
Call the ladies aid
Call all the altos, sopranos
Tenors call every bass
Well call all the pentacostals
And bring all the annointing oil too
Well call the preacher
He's the only one who can reach her
And there ain't no time to lose
A second run at the barrels begins with the start of the verse.
FEMALE SINGER 3
When God fearin' women get the blues
There ain't no slap down a tellin what they're gonna do
Run around yellin
I've got a mustang it'll do 80
You don't have to be my baby
I stirred my last batch of gravy
You don't have to be my, be my, be my baby
FEMALE SINGER 4
67 She's on all our prayer lists
She's on all our hearts
As for the easter cantada
We don't know who'll sing her part
The last run begins with the start of the new verse.
ALL FEMALE SINGERS
When God fearin' women get the blues
There ain't no slap down or tellin what they're gonna do
Run around yellin
I've got a mustang it'll do 80
You don't have to be my baby
I stirred my last batch of gravy
You don't have to be my, be my, be my baby
All three riders enter the arena for the final run around the barrel (synchronized
riding, tricks may be thrown in as the can be).
As the song comes to an end, the racers circle counter clockwise and exit the
arena.
68 Scene 7: Bronco Riding
The emcee appears as the barrels exit the arena via the rodeo clowns. About 15 seconds
into the transition music, the emcee’s dialogue begins.
EMCEE
Today’s professional cowboy is different form his 1880’s predecessor, but one thing
remains the same, they still uphold the traditional ideal of sportsmanship, showmanship,
and mentorship. The tradition of Bronco Riding dates back to the beginning of rodeo, as
wild horses were broken and tamed for used in daily ranch world.
Today, bronco riding is one of the most dangerous events in rodeo. 8 seconds can change a life. 8 seconds and you can be the champion of the world. 8 seconds, can end your
career. It is the competition, it is the danger, and it is the love of the life and culture that
drive the cowboys.
Each of the three Bronco Riders enters the arena and takes their positions in the bull
riding chutes. The three rodeo clowns (serving as protection and aid to the animals)
enter the arena and take their positions upstage center, stage left, and stage right.
Warm down light ills the arena floor. Low template sides (both warm amber from stage
right and cool blue from stage left) cascade across the performance space. Specials
69 continue presence on upstage platforms while the moving lights cascade across the arena
floor and audience between each bronco riding run.
MALE SINGER 1
Little Jimmy Jackson is jackin’ up his Bronco
He’s gonna lay a little rubber later on at the truck pull
All the girls are getting’ pretty sprayin’ on the White Rain
Yeah they’re gonna get a rowdy tonight down at the football game
Yeah
The first run begins with the chorus.
ALL MALE SINGERS
We let it rip when we got the money
Let it roll if we got the gas
It gets wild yeah but that’s the way we get down
In a Hicktown
MALE SINGER 4
Well you can see the neighbors butt crack nailing on his shingles
And his woman’s’ smokin’ Pall Mall’s watchin’ Laura Ingalls
And Granny’s getting’ lit she’s headin’ out to bingo
70 Yeah my buddies and me are goin’ muddin’ down on Blue Hole Road
You know You know
The second run begins with the chorus.
ALL MALE SINGERS
We let it rip when we got the money
Let it roll if we got the gas
It gets wild yeah but that’s the way we get down
In a Hicktown
MALE SINGER 2
We hear folks in the city party in Martini Bars
And they like to show off in their fancy foreign cars
Out here in the boondocks we buy beer at Amoco
And crank our Kraco speakers with that country radio
The third run begins with the chorus.
ALL MALE SINGERS
We let it rip when we got the money
Let it roll if we got the gas
71 It gets wild yeah but that’s the way we get down
Oh Oh We let it rip when we got the money
Let it roll if we got the gas
Its buck wild yeah but that’s the way we get down
In a Hicktown
In a Hicktown
It’s the way we get down
In a Hicktown
Yeah in a Hicktown
The three riders and the three rodeo clowns come down stage during the lull in music.
Riders and clowns from a line along the downstage fencing. They quickly exit under the
playoff.
Oh we aint finished yet
We got you’re country boys and you’re redneck girls
It’s the party heard round the world
Right here in Hicktown
Yeah In Hicktown
The whole town’s gettin’ down
72 Scene 8: Bull Riding
Three rodeo clowns and the emcee enter the arena. The clowns are standing in down
light along the front of the chutes/gates. The emcee is lit downstage center in moving
light down, side, and front specials.
EMCEE
Bull riding is rodeo’s most dangerous event today, but it is also the most recognizable to the world. Being loaded into the chute, the bull rider settles onto the bull’s back, wraps his rope around the bull, loops the rope around his hand, and back into his palm When he nods, the gate is flung open. For a moment the world stops for the cowboy; it’s about man conquering beast; finding out who will win the 8 second battle with the animal.
Reality kicks in. He is taking what might turn out to be the ride of his life; for these cowboys are hooked on the eight second ride. (PRCA 15)
The bull riders emerge in silhouette atop the upstage platforms. As the music picks up
they move to the chutes and mount their animals. One is already prepared for his run.
Down texture fills the arena. Warm and cool sides with out texture fill the performance
space from stage left and stage right. Coloration becomes more saturate compared to
the earlier scenes. Specials on the front of each bull chute build along with specials on
the singers/dancer on the upstage platform.
73
MALE SINGERS
Rollin' down a long highway
Out through New Mexico
Driftin' down to Santa Fe
To ride a bull in a rodeo
He's hooked on a feelin'
Addicted to a natural high
Don't know why it's appealin'
All he knows is he's got to ride
ALL SINGERS
He's addicted to danger
Ruled by passion and pride
To pain and fear he's no stranger
But his lust needs to satisfied
Hooked on an 8 second ride
MALE SINGERS
Gettin' up down in back of the chutes
Makes that rosin burn
He's got his spurs on the heels of his boots
74 He's at the point of no return
Climbing over that chute gate he settles down inside
The tension's risin' but he can't wait
Until they turn that bull outside
The second bull ride run begins.
ALL SINGERS
He's addicted to danger
Ruled by passion and pride
To pain and fear he's no stranger
But his lust needs to satisfied
Hooked on an 8 second ride
The last run begins
Hooked on an 8 second ride
Hooked on an 8 second ride
75 The bulls used for this part of the show are allowed to run around the arena for the last
few bars, interacting with the cowboys. The rodeo clowns escort the bulls off the
stage. Blackout.
Scene 9: Closing/Finale/Bows
We are left with an empty stage, except for the emcee that is down left. He crosses to center during his dialogue as the singers enter and take their positions spread throughout
the arena floor.
Warm red down light fills the arena floor. Cool blue low side template from stage left
fills in and cuts up the space. Specials build down stage center for the emcee, and upstage for the signers. Moving lights create visual eye candy for the finale of the show.
Clothing transitions to modern western ware in red, white and blue. The emcee is in navy pants and coat, with a white shirt and tie. Male singers and performers are in blue
jeas and red or navy western style shirts. Female singers and performers are in denim
skirts or jeans. Red or navy western shirts are worn by the rodeo performers. Corset
inspired tops with western flare are worn by the female singers.
EMCEE
76 Through all the competition, there are a couple of ideals that are always near and dear to
the hearts of everyone involved in the sport of rodeo and the wild west shows of the past.
Respect and courtesy for every man and animal involved in these events, respect for the
land, the animals, and the traditions, respect for one another, and respect for the culture is
near and dear to each and every contestant’s heart. Rodeo and western events have come a long way from the initial competitions in Cheyenne and newly developed renegade western cities. But there is one thing that will never leave the mind of those involved: the westward expansion of this great country that led to the building of a new culture, a western culture, a piece of America’s history and heritage.
ALL SINGERS
When you hear twin fiddles and a steel guitar,
You're listening to the sound of the American heart.
And Opry music on a Saturday night
Brings a smile to your face and a tear to your eye.
The singers and emcee all make their way to the platforms upstage. During the chorus,
performers begin to enter into the arena much as they did during the show opening. They
parade to center, cross downstage, and then progress around the arena. The parade
moves from the stage right entrance to center stage. Participants turn at center and
move directly downstage center to the fencing. After each act is introduced, they move to
the side (alternating sides) and take their place along the downstage fencing.
77
Sing a song about the heartland,
The only place I feel at home.
Sing about the way a good man
Works until the daylight's gone.
Sing the rain on the roof on a summer night
Where they still know wrong from right.
Sing a song about the heartland.
Sing a song about my life.
There’s a place where mornings are an endless blue
And you feel mother nature walk along with you,
Where simple people living side by side
Still wave to their neighbor when they’re drivin’ by.
Sing a song about the heartland,
The only place I feel at home.
Sing about the way a good man
Works until the daylight's gone.
Sing the rain on the roof on a summer night
Where they still know wrong from right.
78 Sing a song about the heartland.
Sing a song about my life.
Sun coming up over New York City
School bus driver in a traffic jam
Starin' at the faces in her rearview mirror
Looking at the promise of the Promised Land
One kid dreams of fame and fortune
One kid helps pay the rent
One could end up going to prison
One just might be president
Each group of acts performs some element of their skill that might be easily produced in
a small area (most likely a 10’x10’ space). The performers and rodeo acts begin making
and x cross through center presenting a reminder of their act.
Saturate blues and down light with no color templates fill the stage. The reds of the
previous look are gone. Cool template low sides build in from stage left. Specials
continue their presence for the emcee along the downstage lip of the stage, and on the
upstage platform for the singers and dancers. Moving light continue to create visual eye
candy for the finale of the show.
79
Only in America
Dreaming in red, white and blue
Only in America
Where we dream as big as we want to
We all get a chance
Everybody gets to dance
Only in America
Sun going down on an La. freeway
Newlyweds in the back of a limousine
A welder's son and a banker's daughter
All they want is everything
She came out here to be an actress
He was the singer in a band
They just might go back to Oklahoma
And talk about the stars they could have been
All performers take their final pass around the arena and take their final bow
positions along the downstage fencing by the end of the next chorus.
80 Only in America
Where we dream in red, white and blue
Only in America
Where we dream as big as we want to
We all get a chance
Everybody gets to dance
Only in America
Yeah only in America
Where we dream in red, white and blue
Yeah we dream as big as we want to
Bows
There is a company bow. Acts begin to exit and house lights return as the following
music is rolling.
Saturate amber down light and down light with no color templates fill the stage. Cool template low sides build in from stage left. Specials build along the downstage fencing to highlight the performers for their bows. Moving light continue to create visual eye candy
for the finale of the show.
81 I was there when the men came, and told us all the news
Father forgive them for they know not what they do
Till they walk a while, a country mile
In my hillbilly shoes
You want to judge me by the whiskey on my breath
You think you know me but you ain't seen nothing yet
Till you walk a while, a country mile
In my hillbilly shoes
In my hillbilly shoes
You work all day in the muck and the mire
Dance a little jig and a stomp by the fire
Ain't too much these boots cant do
Might even kick a little sense into you
Well I'm going up cripple creek going in a run
Going up cripple creek to have a little fun
Law man said they found some tracks
People saw them leavin but they never come back
Oh, you don't know me, you don't know, you don't know you don't know
82 Till you walk a while, a country mile
In my hillbilly shoes
In my hillbilly shoes
All performers clear the stage leaving the permanently install platforms, fencing, cattle
chutes, and backdrop. The lighting fades down to silhouette the stage, with the backdrop
being the prominent feature.
83 Appendix II: Scenic Design
Figure 6: Scenic Rendering for Rodeo West.
Scenery for Rodeo West resembles rodeo arenas on the Professional Rodeo circuit. Three bull riding chutes (appear square in shape in the image above) and two livestock chutes (appear as tall rectangles in the image above) are located along the upstage edge of the arena. On top of the chutes are platforms and stair units which allow a place for the Emcee and the singers/dancers to exist in the space.
Figure 7: Ground plan of the arena for Rodeo West. 84
Figure 8: Centerline section of the stage and set of Rodeo West.
Key entrances to the arena are located stage left and stage right. The wings are large enough to accommodate the stage coach and the independent seer wrestling/roping
85 chute for Act 4. The arena floor is six inches of packed earth with a 1”-2” layer of loose earth on top of cement. Compacted earth allows for good traction for the animals and livestock. Loose earth on top of packed earth aids in softening the landings of cowboys who become separated from their animals.
The downstage side of the arena is bounded by safety fencing. Behind the platforming and livestock chutes is an expansive translucent drop depicting the rolling planes of the Western United States.
Figure 9: Front elevation of upstage platforming, livestock chutes, and bull riding chutes.
Inspiration for the translucent backdrop is drawn from the work of Thomas Hart
Benton’s Wyoming Autumn which was produced in 1958 (Benton 63). The front of the drop is painted for a daylight effect, while the back is painted for evening and nighttime effects.
86
Figure 10: Rendering of the translucent drop front for Rodeo West.
Figure 11: Rendering of the translucent drop back for Rodeo West.
Thomas Hart Benton. Rosa Bonheur, and Frederic Remington are three painters whose careers centered on depicting scenes of western life and culture. Their paintings
are at the heart of the false proscenium arch for Rodeo West. Each painting will be
backlit, allowing for control over the visibility of the artwork during the show. The
proscenium arch paintings will also be illuminated during the competition scenes of
Barrel Racing and Tie Down Roping. The audience will be divided into three cheering
87 sections for these scenes. The paintings over each cheering section will be illuminated to indicate which contestant a specific portion of the audience will be supporting.
Figure 12: Proscenium Rendering for Rodeo West.
Paintings included in the Proscenium are The Hailstorm (Adams 303), July Hay
(Burroughs 123), Fire on Tracks (Benton 62), Henry Look Unhitching (Burroughs 122),
Sugar Cane (Benton 41), The People of Chilmark (Burroughs 75), Shallow Creek
(Benton 38), and The Ballad of the Jealous Lover of the Lone Green Valley (Adams
214). Frederic Remington’s The Moose Country (Remington 1), A Mexican Vaquero
(Remington 1), and Rosa Bonheur’s Le Labourage (Bonheur 1), and Weaning the Calves
(Bonheur 1) are also included.
Props utilized by the rodeo performers will match the time period of the portion of
the show they are utilized in. Roping dummies will be used in Act 3: Trick Riding and
Roping. Six Dummies will be used. Construction will be of wood, and aged to match the
1880’s as opposed to plastic in the image below.
88
Figure 13: Example of a Roping Dummy. (Toys 1)
Barrels utilized for barrel racing will be similar to those utilized in modern rodeo.
Typically fifty-five gallon oil style drums are utilized. The barrels may be made of metal
or plastic. Covering the barrel is a canvas covering which is branded by a corporate
sponsor of the rodeo such as Dodge Trucks, Coors Brewing, or Wrangler Jeans. Barrels for Rodeo West will be fifty-five gallon plastic drums covers with canvas. The canvas
will be branded with the Rodeo West logo.
Figure 14: Example of barrel and vinyl cover used for Barrel Racing. (WWE 1)
89 Appendix 3: Lighting Design
The Lighting design draws on the work of Thomas Hart Benton, Frederic
Remington, and Rosa Bonheur. These artists portray western culture and lifestyles throughout their work. Each painter illustrates scenes of farmers working in the field, cowboys working on horse back, western scenic vistas, and similar scenes, the aided in the development of the color concept for the lighting. In the images that follow, you will get a sense of the color choices and angle of light selected for the portrayal in each act in
Rodeo West.
Lighting Design Magic Sheets
Figure 15: Magic sheet showing control of lighting instrumentation over the stage and color choices.
90
Figure 16: Magic sheet illustrating coloration and moving light placement in relation to the stage.
Act 1-Star Spangled Banner
Figure 17: Lighting rendering for the presentation of the colors of the United States of America, and the singing of the Star Spangled Banner.
91 The presentation of the colors and the singing of the Star Spangled Banner will be presented with single down specials on the emcee, singers, and flag bearers. Blue light and down texture fills the stage.
Act 1-Country Boy
Figure 18: Lighting Rendering for the presentation of the acts during Country Boy.
Country Boy introduces each of the acts presented in Rodeo West to the spectators. Warm and cool high sides build across the entire arena. On the platforms, singers/dancers are bathed in warm down specials. Moving lights cascade across the audience and stage.
92 Act 2- Robbing of the Stage Coach
Figure 19: Lighting rendering for the Robbing of the Stage Coach.
Warm down light encompasses the stage. Low side texture cuts in from the pipe downs from stage left and stage right. Down light specials on the upstage platform
continue highlighting the singers/dancers and the Emcee.
Act 3: Trick Roping/Riding
Figure 20: Lighting rendering for Trick Riding/Roping.
93 Warm high sides fill the space as the warm template of the previous scene fades away. Down specials are added down stage center for the lead roping performer. Two pools upstage build as well for the secondary roping performances. Warm down light intensifies throughout the scene.
Act 4-Livestock Roping
Figure 21: Lighting rendering illustrating the lighting composition for Livestock Roping.
Warm template low sides come back in bathing the space in broken light. A
pathway of light is created from upstage left to downstage right for the animals and
ropers to follow. Warm down light and specials on the singers/dancers and emcee on the
upstage platform continue presence.
94 Act 5-Steer Wrestling
Figure 22: Lighting rendering displaying the lighting composition for Steer Wrestling.
Warm amber high sides and cool high sides fill the arena. Down stage center a pool of textured down light provides the final destination for the steer wrestlers. A pathway of light is build from the upstage chutes to down stage center.
Act 6-Barrel Racing
Figure 23: Lighting rendering illustrating lighting for Barrel Racing. 95
Track of light is constructed with moving lights replicating the track of the barrel
racers. Cool low side template baths the arena. Specials on the upstage platform
highlight the singers/dancers and emcee. Moving light looks begin cascading the
audience and arena between the barrel racing runs.
Act 7-Bronco Riding
Figure 24: Lighting rendering illustrating the lighting composition for Bronco Riding.
Warm down light fills the arena floor. Low template sides (both warm amber and
cool blue) cascade across the performance space. Specials continue presence on upstage
platforms while the moving lights cascade across the arena and audience between each bronco riding run.
96 Act 8-Bull Riding
Figure 25: Lighting rendering showing lighting composition for Bull Riding.
Down texture fills the arena. Warm and cool sides without texture fill the performance space. Coloration becomes more saturate compared to the earlier scenes.
Specials on the front of each bull chute build along with specials on the singers/dancers on the upstage platforms.
Act 9-Heartland
Figure 26: Lighting rendering illustrating lighting for part one of the finale, Heartland.
97 Warm red down light fills the arena floor. Cool blue low side template fills in and cuts up the space. Specials build down stage center for the emcee, and upstage for the singers. Animals and performers come together once again for the full company finale.
Moving lights create visual eye candy for the finale of the show.
Act 9-Only in America
Figure 27: Lighting rendering illustrating lighting for part two of the finale, Only in America.
Saturate blues and down light with no color templates fill the stage. The reds of
the previous look are gone. Cool template low sides build in. Specials continue their
presence for the emcee along the downstage lip of the stage, and on the upstage platform
for the singers and dancers. Moving lights continue to create visual eye candy for the
finale of the show.
98 Appendix 4: Costume Design
99
100
101 Works Cited
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Aldean, Jason. “Hicktown.” Jason Aldean. Broken Bow, 2005.
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Benton, Thomas Hart. Thomas Hart Benton: Chronicler of America’s Folk Heritage.
Hudson: Blum Art Institute, 1984.
Bernstein, Leonard. “Hoe-Down from Rodeo.” Route 66 Drive Time). Sony BMG,
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Bonheur, Rosa. Le Labourage. 1844. 8 Feb. 2010.
=ART_FOR_SALE&artist=81399>. ---. Weaning the Calves. 1879. 8 Feb. 2010. Brooks and Dunn. “Only In America.” Steers and Stripes. Arista, 2001 Burroughs, Polly. Thomas Hart Benton: A Portrait. Garden City: Doubleday, 1981. Chesney, Kenny. “Living In Fast Forward.” The Road and the Radio. BNA Entertainment, 2005. 102 Clave, Salvador Anton. The Global Theme Park Industry. Cambridge: CABI, 2007. City of Prague Philharmonic. “Wild Rovers, Bronco Bustin’.” The Wild West. Silva America, 1999. ---, “How The West Was Won-Prelude.” The Wild West. Silva America, 1999. Dean, Billy. “Thank God I’m a Country Boy.” Let Them Be Little. Curb, 2005. “Demographic Report.” Rodeo Austin. 2009. Rodeo Austin Star of Texas Fair and Rodeo. 1 Feb, 2010. Earle, Steve. “Copperhead Road.” Copperhead Road. MCA, 1988. Elle. Outlaw Country. 2009. Elle Magazine. 15 Feb. 2010. Country/(imageIndex)/7/(play)/false >. Enss, Chris. How the West was Worn. Helena: Twodot, 2006. ESPN. Rodeo + Bull Riding Photo Gallery. 2008. ESPN.com. 15 Feb. 2010. ---. Rodeo + Bull Riding Photo Gallery. 2008. ESPN.com. 15 Feb. 2010. Fredriksson, Kristine. American Rodeo: From Buffalo Bill To Big Business. College Station: Texas A&M UP, 1985. Hilfiger, Tommy. Tommy Hilfiger Spring 2009 Ready to Wear Collection. 2000. Style.com. 15 Feb. 2010. 103 THILFIGE?viewall=true>. Hovet, Ted. Interdisciplinary Studies in the Long Nineteenth Century, No 9. 2009. America on Display: Construction and Containing Images of the United States. 7 Apr. 2010. IAAPA. International Association of Amusement Parks and Attractions. 2009. 27 August, 2009. Jeffers, Gene. “TEA/ERA Theme Park Attendance Report.” 2007. TEA and ERA. 17 October 2009. .pdf>. Ledoux, Chris. “Hooked On An 8 Second Ride.” 20 Greatest Hits. Capitol, 1999. ---, “Stampede.” 20 Greatest Hits. Capitol, 1999. “Livestock Welfare.” PRCA Pro Rodeo. PRCA Pro Rodeo Online. 13 October 2009. McBride, Martina. “When God-Fearin’ Women Get the Blues.” Greatest Hits. RCA, 2001. McQueen, Alexander. Alexander McQueen Pre-Fall 2009 Collection. 2010. Style.com. 14 Feb. 2010. AMCQUEEN>. 104 ---. McQueen. 2010. 14 Feb. 2010. YdsQ/mcqueenaw0910mlooks01.jpg>. ---. McQueen. 2010. 14 Feb. 2010. wu7fjk/mcqueenaw0910mlooks04.jpg>. ---. McQueen. 2010. 14 Feb. 2010. http://www.hypebeast.com/image/2009/08/alexander-mcqueen-2009-fall-winter- style-shots-9.jpg Montogmery Gentry. “Hilbilly Shoes.” Something to Be Proud of: The Best of 1999- 2005. Sony, 2005. Oldest Rodeo in the World. 2010. Gateway to Sedona. 15 Feb. 2010. Pierce Arrow. “Star Spangled Banner.” Branson Heat. PRCA. 2009 PRCA Media Guide. Colorado Springs: PRCA, 2009. Reddin, Paul. Wild West Shows. Urbana, Illinois UP, 1999. Remington, Frederic. A Mexican Vaquero. 1890. 8 Feb. 2010. ---. The Moose Country. 1909. 8 Feb. 2010. >. 105 “Rodeo Events and Women.” 20 April 2002. 20 October 2009. “Rodeo Arena.” Rodeo West. 2010. 14 Dec. 2009. Rosa, Joseph G., and Robin May. Buffalo Bill and His Wild West. Lawrence: Kansas UP, 1989. Rydell, Robert W., and Rob Kroes. “Buffalo Bill’s Wild West in Eurpoe.” Buffalo Bill in Bologna. 2005. 20 October 2009. Sagala, Sandra K. Buffalo Bill, Actor. Bowie: Heritage, 2002. ---, Buffalo Bill on Stage. Albuquerque: New Mexico UP, 2008. Sloan, Thom. “The Use of Safety Equipment and Precaution by Rodeo Contestants.” 25 October 2006. IGRA Rodeo Resources Guidebook. 13 October 2009. SMU. Fashion at the Park. 2008. The Daily Mustang. 15 Feb. 2010. Star of Texas Far and Rodeo. Rodeo Austin. Travis County Exposition Center, Austin. 24 Mar. 2009. Strait, George. “Heartland.” 50 Number Ones. MCA, 2004. “Team Roping Supplies.” Ropersonly.com. 2010. 13 Mar. 2010. 106 Theodori, Gene L. An Overview of Contemporary American Rodeo. 20 October 2009. Ward, Geoffrey C. The West. Boston: Bay Back Books, 1996. Warren, Louis S. Buffalo Bill’s America. New York: Knopf, 2005. Wilmeth, Don B. Variety Entertainment and Outdoor Amusements: A Reference Guide. Westport, Greenwood, 1982. “WWE Rodeo Events.” WWE Rodeo Co. 2008. Wild West Entertainment Rodeo Company. 13 Mar. 2010. 107 Vita Darren Eric Levin was born in Norton, Kansas. He graduated from Morgan County R-1 High School in Stover, Missouri in 2003 as the valedictorian of his class. Immediately after high school, he began his studies at Missouri State University in Springfield, Missouri. He graduated Magna Cum Laude with his Bachelor of Fine Arts Degree in the Honors College with a major in Theatrical Design and Technology with emphasis in Lighting Design in May of 2007. In the fall of 2007, Darren began his graduate studies in The Department of Theatre and Dance at The University of Texas at Austin. Permanent Address: 12575 Self Chapel Road Versailles, Missouri 65084 This thesis was typed by the author. 108