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By
Michael Mell
Who says we have to stop playing with toys when we grow up? A friend of mine
opened a model train store just so he could continue to play. For others,
grown-up toys are of a different kind: They light up and create sounds and
make things “magically” move. They’re the latest lighting control board,
moving light or mixing console. They’re motorized rigging sets and stage
elevators and turntables.
For some, they’re simply a few Lekos (that’s an
ellipsoidal reflector spotlight, for you youngsters) and a pipe grid.
Whatever the size and needs of your facility, or whether you’re building
new, renovating or upgrading, you’ll find a bewildering array of theatrical
systems and equipment. Below are some steps you should take before spending
a cent.
Justify the need. Before the powers that be
will commit to any capital project, they’ll have to be convinced of its need
and value. This will require you to keep records and try to quantify the
need (i.e., what can’t you do now that you would like to do.)
Decide what you want your systems to do.
There’s a great deal of information available and many new and interesting
toys. Look at your current systems and how they’re used. What works and what
doesn’t? What new demands can you see in the immediate and far future? Are
there any safety concerns? Organize this information and write it down —
don’t keep it in your head.
Budget. It’s the lucky manager who gets
everything he wants — and I’ve never met any lucky ones. Develop a budget
based on the goals you wish to achieve. Leave some wiggle room in your
budget. Remember, it’s almost impossible to get more money, but you’ll
certainly be asked to spend less.
Take advantage of available help. While most
techies and designers have experience in the operation and maintenance of
theatrical systems and equipment, very few have ever designed them. There’s
more than just selecting the equipment. You’ll be working with architects,
engineers and contractors who may have more or less experience than you.
If possible, talk with the staff of other facilities
that have completed similar projects to yours. Surf the Web and visit the library.
Read publications such as this one. Seek help from members of your staff.
The more you know, the better you’ll be able to determine and articulate
your needs, especially if the project budget is tight.
Who Are These Folks?
Theatrical systems and equipment are made by an equally bewildering array of
dealers, representatives and
manufacturers. Different manufacturers of theatrical systems and equipment
employ different levels of response to a bid or direct purchase, depending
upon the project location and its size. Some of the principal players are:
Manufacturer or OEM: The company that
actually designs and fabricates the equipment. Some have limited
distribution but most work through dealers and representatives.
Dealer: A sales agent for different
non-competing manufacturers. Dealers resell the equipment and make their
profit on the mark-up.
Manufacturer’s representative: A sales agent for a variety of manufacturers
who makes a commission on any represented products that are sold in their
territory.
Systems integrator:
Will package any and all of
the typical theatrical equipment packages and provide all coordination and
responsibility.
Who Do You Call?
If you’re simply buying some off-the-shelf items, a local dealer or
representative can assist you. When you can, do business with a local dealer
who will open his shop on Sunday afternoon to get that replacement lamp or
console you need.
For a medium project without too many bells and
whistles, a systems integrator can be very helpful. These firms will not
only supply equipment but will also design, coordinate and ensure that all
required components are included. They have experience working with
engineers and contractors and will provide them necessary information during
installation and testing of theatrical systems. They can also offer warranty
services.
For large projects a theater consultant should be
engaged. These consultants work with theatrical systems every day and can
help distill your needs and ideas, and offer suggestions. As well, they’re
fluent in the design and construction process and can act as your advocate
for what can be, for a new facility, a multi-year process.
The theater consultant will prepare specifications and drawings to describe
the theatrical systems for bid. These documents will describe the intent, as
well as the letter, of the design of the systems and will provide a common
basis for bidding.
There are a lot of toys out there. You’ll be pressured
by staff and salespeople alike to purchase the latest and greatest whatever.
Take the time to evaluate your needs, speak with colleagues and re-search
the products to ensure you don’t have more toys than you can play with.
fm
Michael Mell, ASTC,
is the president of Theater Design Inc., a firm specializing the planning
and design of performing arts facilities. He is also the author of Building
Better Theaters and may be reached via his Web site,
www.theaterdesigninc.com.
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