Theater Specs

Updated 07/25/2022

Production Staff

Adam AJ Johnson, Audio and Video Supervisor, aj@danceplace.org

Erin Sullivan, Lighting Supervisor, erins@danceplace.org

dani tirrell, Associate Curator & Producer, danit@danceplace.org

Production Personnel

Dance Place provides Front of House staff, as required for efficient operation, and one (1) to two (2) board operators for all technical rehearsals and performances. At least one (1) backstage technician will be provided for evening rehearsals and all performances. When needed, for an added fee, Dance Place will provide additional board operators and/or backstage technicians. See contract for details.

House and Stage

Stage Specifications

The Stage area is 35′ wide (pilaster-to-pilaster), 34′ deep (plaster line to upstage wall) and 17′ high (floor to grid). There is no fly system. There are 2′ wide legs to hide the light booms and some entrances and exits. It is not possible to cross from wing to wing without being seen. The floor is sprung, painted black with black vinyl installed (“Marley floor”). There are black velour curtains covering mirrors stage right and black velour curtains covering windows stage left. Upstage is a white cyclorama, black velour traveler, black scrim or white brick wall. There is a crossover hallway behind the upstage wall. Glitter is not permitted in the Dance Place theater; use confetti instead. 

House Specifications and Policies

The house seats a maximum of 144 patrons. The Box Office opens for ticket sales and will-call one hour before the show. The house opens ½ hour before the show. Late seating opportunities should be discussed in advance with the Director of Production.

Lighting Equipment and Information

General Information

  • Console: ETC Ion with iPad remote and OSC connection to Qlab 4 software
  • Dimmers: 204 @ 2.4k, 12 @ 1.2k

Repertory Plot

There is a repertory light plot hung at Dance Place, comprised of the following systems (all conventional units unless otherwise indicated):

  • three (3) positions on the booms (shins, mids, and head highs)
  • one (1) system of LED back light
  • one (1) system of conventional back light
  • two (2) systems of front light
  • one (1) system of footlights
  • two (2) systems of LED high cross color wash (near and far shot)
  • one (1) system of high cross pattern wash
  • three (3) stage left to stage right paths, three (3) upstage to downstage paths, and two (2) diagonal paths
  • one (1) house aisle highlight pathway
  • nine (9) down pools
  • two (2) LED cyc strips (top and floor)
  • nine (9) moving lights (Robe DLS profiles)

See the Light Plot and Hook Up Sheet for details. Changes to the repertory plot are highly discouraged and must be approved by the Director of Production and Lighting Supervisor.

Additional Inventory

Lighting instruments available to be hung as specials are the following:

    • forty (40) ETC Source Four bodies (750 watts)
      • three (3) 5-degree lenses
      • three (3) 10-degree lenses
      • four (4) 19-degree lenses
      • seven (7) 26-degree lenses
      • sixteen (16) 36-degree lenses
      • twenty-two (22) 50-degree lenses
      • five (5) 90-degree lenses
    • five (5) 50-degree ETC Source Four Juniors (575 watts)
    • one (1) 3 ½″ x 8″ leko (500 watts)
    • one (1) 4 ½” mini-zoom (575 watts)
    • eleven (11) Chroma-Q Color One 100 LED PARs (standard 18-degree beam spread)
      • seven (7) 36-degree lenses
      • five (5) 50-degree lenses
      • eight (8) 56-degree lenses
    • twenty-six (26) 6″ fresnels (500 watts)
    • two (2) 6″ fresnels (750 watts)
    • two (2) Altman 8″ fresnels (1k watts)
    • four (4) Castor 10″ fresnels (2k watts)
    • twelve (12) Altman 360Q bodies
    • twelve (12) 4 1/2 x 6 1/2″ Altman 360Q lenses
    • twelve (12) 6 x 9″ Altman 360Q lenses
  • twenty (20) floor mounts
  • eight (8) sidearms
  • two (2) mirror balls with motors
  • one (1) ICue
  • one (1) Rosco I-Pro
  • two (2) DMX irises
  • nine (9) manual irises
  • two (2) Simple Spin dual gobo rotators
  • one (1) FX loop

Atmospheric Effects

  • one (1) Ultratec Radiance Hazer, mounted in the grid upstage center (cannot be moved)
  • two (2) High End Systems FQ100 fog machines
  •  

Sound Equipment and Information

Speakers

Please note: sound limit is a maximum 96 dBA in center of house and on stage

  • Mains: two (2) Meyer UPA-1P
  • Subs: two (2) Meyer UMS-1P
  • Monitors: two (2) Electro Voice ETX12P
  • Back of house: two (2) EAW FR153z

Console

  • Primary: Allen & Heath SQ-6 with output expander and Dante option card
  • Secondary: Yamaha LS9-32
  • Additional small Mackie mixers 

Players

  • Mac Mini show control computer with Qlab 4 software
        • OS 10.14 Mojave
        • 16 GB RAM
        • 3 GHz i7 Intel
        • Dante Virtual Soundcard

Microphones

  • Wireless
        • Two (2) Shure ULX1 wireless handheld microphone
        • Four (4) Shure ULXP4 wireless body packs
        • One (1) DPA 4066 microphone
        • One (1) Countryman E6 over-ear microphone
        • Four (4) Shure WL185 lavalier elements
        • Four (4) Shure WA302 1/4″ In
  • Wired
        • Eight (8) Shure SM58 wired handheld microphones
        • One (1) Shure SM48S switchable wired handheld microphone
        • Four (4) Shure SM57 wired handheld microphones
        • One (1) Shure Beta 87A handheld microphone
        • Two (2) Shure VP-89 shotgun microphone

Additional Inventory

  • Three (2) Allen & Heath DT168 Dante stageboxes
  • Analog snakes:
    • 6 channel in, 2 channel out snake downstage left (cannot be moved)
    • 8 channel in, 4 channel out snake downstage right (cannot be moved)
    • 10 channel fifty-foot spare snake
  • Three (3) Klipsch KSM 10 monitor wedges
  • Two (2) QSC K10 powered speakers, with hanging hardware
  • Two (2) QSC K12 powered speakers
  • One (1) Mackie SRM450 powered speaker
  • Four (4) active Z-Direct boxes, three (3) passive Z-Direct boxes
  • Five (5) straight mic stands, six (6) boom mic stands, two (2) short table-top mic stands
  •  

Projection Equipment and Information

Primary Inventory

  • Cyc / Back wall projection: Sony VPL-FH500L
    • Brightness: 7000 lumens
    • Resolution: 1920×1200
    • Magnification: 0.89x fixed
    • Shutter Network Control
  • Floor Projection: Four (4) edge-blended Panasonic PT-DW6300ULS
    • Cannot be moved
    • Total Floor Resolution: 1400×1600
    • Total Floor Coverage: 28’9″ x 32’6″ (Stage Width x Stage Depth)
    • Internal Shutters are Network Controlled via Q Lab
    • Individual Projector Brightness: 6000 Lumens
    • Individual Projector Resolution: 1280×768
    • Lens Magnification: 0.8x fixed

Secondary Inventory

    • Five (5) Optoma TW610ST with hanging hardware
      • Brightness: 3100 lumens
      • Resolution: 1280×800
      • Magnification: 0.52x fixed
    • One (1) ViewSonic Pro8500
      • Brightness: 5000 lumens
      • Resolution: 1024×768
    Magnification: 1.45x-2.18x adjustable 

Additional Inventory

  • Mac Pro (late 2013 model) show control computer with Qlab 4 software to control up to six (6) projectors
    • macOS 10.14 Mojave
    • 3.5 GHz 6-core
    • 64 GB RAM
    • AMD FirePro D700
    • Dante Virtual Soundcard
  • Flapper Mini remote control dowser
  • Wireless video transmitter and receiver for live feed projection
  • One (1) Blackmagic UltraStudio Recorder
  • Three (3) Matrox Triple Head2go boxes (DVI out)

Networking & Communication Equipment and Information

  • Networking: Repertory lighting, sound, and projection systems are connected to a non-internet-connected hardwired local area network with wireless access point. These systems are configured for OSC control. Repertory sound and projection systems are additionally connected to a hardwired Dante network. Internet-connected WiFi is available for artists throughout the Dance Place campus. 
  • Intercom: Production Intercom with five (5) wired headsets for communication between light booth, AV booth, and backstage
  • Infrared camera with infrared illuminator and monitor in booth for use by Stage Management

Softgood Information

Primary Inventory

  • White cyc backdrop on roll drop (cannot be moved)
  • Black scrim backdrop on roll drop (cannot be moved)
  • Black velour backdrop with fullness on traveler
  • Red velour main act curtain on traveler (motorized)
  • Black velour tabs on travelers covering windows stage left and mirrors stage right
  • 3 black velour legs per side

Additional Inventory

  • 2 natural muslin cycs 25’w x 14’h
  • 2 white austrian curtains 35’w x 17’h
  • Black Velour Legs
    • 9 black velour legs 16’h x 4’6″w
    • 1 black velour leg 16’h x 4’w
    • 1 black velour leg 15’8″h x 4′6″w
    • 2 black velour legs 15’8″h x 4′w
  • One black velour curtain 9’3″h x 15′w
  • One black velour curtain 7’8″h x 33′w
  • 2 Duvetyne black borders 1’6’’h x 33’3’’w
  • 1 black velour border 4’7’’h x 33’9’’w
  • 1 grey flat curtain 40’w x 9’10’’h
  • 1 Textilene scrim 44’10’’ x 8’6’’
  • Pipe and drape:
    • 15 black drapes 5’w x 7’9’’h
    • 8 bases & upright pipes
    • 7 horizontal pipes

Technical Production Schedule

The typical schedule for performances in the Dance Place Season is as follows:

Thursday

1:00 – 6:00pm Hang and Focus, Full Crew (3), 15 minute crew break at 3:30pm

7:00 – 10:00pm Dry Tech

Friday

1:00 – 6:00pm Wet Tech/Cue-in rehearsal, Partial Crew (2), 15 minute crew break at 3:30pm

6:00 – 7:00pm Crew break

7:30 – 11:00pm Dress Rehearsal, Full Crew (3)

Saturday

4:00pm Crew and artist call, Full Crew (3)

4:00 – 6:30pm Free stage

5:30pm Set up house, Performers can remain onstage

6:00pm Lobby opens

6:30pm House opens (stage clear)

7:00pm Curtain

Sunday

1:00pm Crew and artist call, Partial Crew (2)

1:00 – 3:30pm Free stage

2:30pm Set up house, Performers can remain onstage

3:00pm Lobby opens, Full Crew (3)

3:30pm House opens (stage clear)

4:00pm Curtain

Note 1: Additional fees will be assessed for exceeding the designated end times during technical and dress rehearsals. See contract for details.

Note 2: For productions with performances other than the times specified above, please contact the Director of Production to establish an appropriate schedule.