Ooops

by:

Joe Patti

Well apparently as my windows shifted around during my recent attempts to enhance my web feed links, I accidentally deleted part of the right hand sidebar. I have tried to restore and also improve that sidebar, but I am pretty sure some blogs that I added after creating a back up copy have gotten left out. I have a good sense of what has been omitted but I am going to go back through the last 6-12 months of posts to double check and perhaps pick up a couple more that should be included.

If I am missing your blog and listed it before, let me know! Sorry about making you disappear.

Feed Changes

by:

Joe Patti

A few months ago one of the readers expressed an interest in having the blog feed changed to provide the full entry instead of just the summary. Drew over at Inside the Arts did a survey and discovered that most people want a full feed instead of a summary.

As a result, I have added a full feed to the blog. You can choose the summary or full feed in the left sidebar. You can also choose the feeds via the orange icon in the navigation bar of your web browser. I haven’t figured out how to differentiate between the two Atom feeds listed there yet. But if you mouse over them, one is named atomf.xml and the other is atom.xml. The one with the “f” will deliver the full length feed.

Enjoy.

Sometimes I Feel Like A Fatherless Color

by:

Joe Patti

I don’t know how it found its way to my backstage, but I came across a booklet from Apollo Design that really show the company has a sense of their customer’s needs and seek to add value to their products. They have what they term Playbooks which provide a scene by scene break down with gel and pattern suggestions of some of the most popular plays high schools and community theatres perform.

They admit that the options they offer are among the safest choices a lighting designer can make. They also can’t offer guidance about placement of instruments and intensity of light since they can’t know the needs of every theatre. But for the high school teacher who has volunteered to direct the fall play and knows nothing about choosing gel colors, the booklets can remove quite a bit of anxiety. Even if you aren’t directing any of the plays they cover, you can get a sense of how the design theory you might read in a text book has been put into practice in specific instances.

You can download pdf versions of specific Playbook sections here. As an example of the general guidance they offer, for The Glass Menagerie, the notes state:

“Smoky, red glow” – mentioned in the Amanda and Tom argument scene. The colors should not be malevolent or suggest violence. It should be a subtle indication of frustration and tension”

Another example is in scene 3 the booklet provides guidance for different colors on the fire escape, living room, bedrooms and dance hall.

Although their skills far outstrip those of the people who would use these booklets, my technical crew thought the booklets were a great idea and have been thumbing through them for the last week.

We did get a little chuckle though from their political correct renaming of Bastard Amber, one of the most often used gel colors around. It was created by mistake when a guy was trying to create a batch of regular amber. Bastard Amber ended up being generally a better color choice and more widely used than regular Amber. The two leading gel manufacturers, Rosco and Lee both have the color in their swatch books.

Apollo on the other hand calls the color Fatherless Amber. Given that they have a Dominant and Submissive Lavender, we can’t imagine they are complete prudes.

If you want to have a bit of fun, ask your tech director if you can see their gel swatch books. You can find some amusing names for colors in there. Given that Rosco and Lee have created proprietary colors that the other hasn’t been able to reproduce, you can have fun looking through both. Like some famous painters who have created their own paint shades, lighting designers have asked that unique colors be created for them and so you will find some colors named after notable theatrical folks. Be warned that there are also a lot of mundane boring colors in there as well though you will probably wonder at the contradiction of shades like No Color Blue.

Brother May I?

by:

Joe Patti

Okay another cautionary tale. I swear that I am not trying to emulate Jason Heath’s wild gig stories. This stuff is just falling into my lap. The drama director, tech director and motley band of collaborators have been meeting recently and having exciting discussions about our Fall drama production. It has gotten easy to get caught up in the energy so I keep forgetting a crucial point. We don’t have the rights to do the show yet.

The show isn’t currently in print but the playwright has said we can perform it. It will be something of a coup for us–but only if this permission is communicated to the playwright’s literary agent. I have asked my assistant theatre manager to keep an eye on me to make sure I don’t forget this crucial fact and list the show in our brochure or something. He then related this great story on that topic to me.

It seems he was in rehearsals for an off-Broadway play and the producer invited the playwright’s brother to view the final dress. As the playwright was deceased, the brother administered all of the rights. After the show the brother was very critical of the directing and the casting decisions. He may have been within his rights to complain about the issues if the performance license stipulated details about how the show should be presented. But we will never know because the brother finished by pointing out that the producer never requested the rights for the show.

The producer essentially told the brother that she assumed since the brother and she were of the same race and the play dealt with issues facing their shared race, the rights would naturally have been granted. The brother refused to grant the rights and the results of many weeks of rehearsal was never seen by an outside audience.

Even with the concepts of intellectual property blurring, there were a lot of mistakes made here. Not the least of which was that you shouldn’t try performing anything in the heart of Manhattan without securing the rights even if you are smart enough not to invite the executor of said rights to your show. This is not to say you are safer flaunting licenses the further you are from NYC. There are plenty of stories of vacationing playwrights and agents gasping in horror at the liberties taken with scripts in both sanctioned and unsanctioned productions.

The assumption that blood is thicker than money or least permission was also probably ill-advised.

It is likely that the playwright wasn’t terribly specific about how his play was to be directed and cast. The brother’s problem most likely started with the fact the rights hadn’t be granted and every other little dislike became enlarged as fuel for the complaint. The guy who taught me about the presenting business talked about the same thing in reference to horror stories we heard about performers who were absolutely sweet to us. The bizarre comments we heard about probably wasn’t the root complaint but merely one of many expressions of dissatisfaction about the absence of things their riders specified should be present.

Hopefully we will be granted the rights to perform the show we want to do in the Fall so I can relate the interesting way the script fell into our hands. Not to mention how our excited, creative madmen and women manage to execute the show.