Coming in May 2002!

AD CLOSING: March 14, 2002
MATERIALS DUE: March 25, 2002

SPECIAL REPORT: Industrials/Corporate Theatre

The Detroit Auto Show:
Cars are king in Motor City, and when the North American International Auto Show rolls into town, journalists from around the world come to Detroit to marvel at what the auto giants have to offer. What they also find are some of the most astonishing industrial displays in the auto show, as well as the industrial circuit. Sharon Stancavage goes behind the scenes with some of the major local players in the auto show market—including The George P. Johnson Company of Auburn Hills, H.B. Stubbs of Warren, Fourth Phase of Troy, and Illuminart of Ypsilanti to get the scoop on design theory, budgeting, economics, and the future of the show in tight economic times.

PLUS: A full roundup of recent corporate projects. (If you have any recent projects you’d like us to include, please send materials to David Johnson at

Also in this issue...

FILM: Spider-Man
Somehow, we always knew director Sam Raimi had a Spider-Man movie in him. Costume designer James Acheson talks about creating a perfect arachnid costume for newly pumped-up star Tobey Maguire, and production designer Alex McDowell discusses building those (mostly model) skyscrapers for him to scale.

Architect Rafael Viñoly collaborated with Theatre Projects Consultants and Artec Consultants (acousticians) to create the stunning new Kimmel Center For The Performing Arts in Philadelphia. The Center features the 2,500-seat Verizon Hall, the new home of the Philadelphia Orchestra, and the Perelman Theater, with its innovative turntable stage that converts the versatile 650-seat space from a recital hall to a proscenium setting. State-of-the-art technical equipment includes ETC lighting fixtures, Strand dimmers and consoles, an AMX house/worklight control system, rigging, draperies, and adjustable acoustic elements by Hoffend (in Verizon Hall) and by JR Clancy (in the Perelman Theater), seats by Irwin Seating, platforms by Mystic Scenic, and lifts (in both halls) by Gala. The sound reinforcement systems include self-powered loudspeakers by Meyer Sound (MSL4, CQ1, and UPA1P models), Soundcraft Series 4 consoles, and microphones by Shure and Neumann.

THEATRE: Minneapolis On Tour
When O'Neill's An Wilderness opened at the Guthrie Theatre many months ago, there were no plans for a Midwest tour. Fortunately, director Douglas Wager took O'Neill's description of the play as "dreamlike and magically nostalgic" more seriously than his call for several sets. Scenic designer Ming Cho Lee created a single abstract house on a beach, and Zack Brown juxtaposed realistic period costumes against it. Davi Napoleon caught the show Center in Ann Arbor, which also hosted Theatre de La Juene Lune's Tartuffe earlier this season. She spoke to members of both artistic teams and the crews who helped adapt the shows to assorted venues.

OPERA: The Rink Cycle
Opera in a hockey rink? That’s just what they’re getting these days in Washington state, as the Seattle Opera has set up temporary shop in the Mercer Arena during renovation work at the opera’s main facility. Philippa Kiraly reports on the technical challenges of putting a show up in a cavernous space, and the lessons learned from the San Francisco Opera’s similar move a few years ago. The project manager was Jill Crary for Seattle Center, which owns and operates both buildings, with the close collaboration and input of Randall G. Chiarelli, lighting designer and technical director for Pacific Northwest Ballet, Robert D. Schaub, technical director for Seattle Opera, Martin Pavloff, stage crew chief for Seattle Center, and Richard Erwin, sound department crew chief for Seattle Center. Jaffe Holden Acoustics of Connecticut did the acoustics assisted by Michael R Yantis Associates of Seattle. Much of the materials came from the old Opera House and from the opera's and ballet's own shops, but Morgan Sound provided the Yamaha sound control console, also the central speaker cluster and other support speakers made by J.B.L. Harman Family of Products. Portable trussing came from Total Structures, and some ETC fixtures from Barbizon Lighting Company. PNTA (Pacific Northwest Theatre Associates) provided services for integrating the lighting control system, most of the components of which came from the opera and ballet shops or were pulled out of the Opera House. Rigging was also done in house.

TECHNOLOGY: Projection Designer Wish List
Michael Eddy talks to some of the industry’s top projection designers to find out what they’d like to see in the way of new video projection technology for theatre and other entertainment uses.

New goodies from JLG, Leviton, Guitammer, Rental Management Systems, Cadac, Alcorn McBride, Christie Digital, TerraSonde, ElectroVoice, Crest, JBL, Altman, Quantum Energy, and Krieger.
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A PRIMEDIA Business Magazines & Media Publication
Producers of:
LDI 2002 / October 18-20, 2002 / Las Vegas, Nevada