Dance Africa DC at Dance PlaceDance Africa DC at Dance Place

Theater Specs

UPDATED 1/25/2013

Production Staff

Ben Levine, Technical Director/Theater Manager, 202-269-1600 x20, benl@danceplace.org
Sarah Kramer, Production Manager/Development Associate, 202-269-1601, sarahk@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, designers and/or a stage manager. See contract for details.

House and Stage

Stage Specifications:

The Stage area is 35′ wide (pilaster-to-pilaster), 35′ deep (Marley to white 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 is a front burgundy curtain, black velour covering mirrors stage right and black velour covering windows stage left. Upstage is a white cyclorama, black traveler, or white brick wall. Crossover is not possible when wall is exposed.

House Specifications and Policies:

The house seats a maximum of 155 chairs with all risers and platforms.
The lobby opens one hour before show in conjunction with the opening of the box office. The house opens ½ hour before the show. Late seating happens after the first piece if it is relatively short, or as discussed with the House Manager. Dance Place requires a 15 minute intermission unless specified in the contract.

Lighting Equipment and Information

General Information:

Dance Place’s lighting console is an ETC Express 24/48. The dimmer system is comprised of seventy-two (72) dimmers, sixty (60) 2.4kW and twelve (12) 1.2kW. There is a sizeable supply of Roscolux and Lee filters and gobos. Additional equipment includes one (1) remote focus unit, sixteen (16) floor mounts, one (1) strobe light, one (1) mirror ball with motor, one (1) ICue, one (1) DMX iris, two (2) Simple Spin dual gobo rotators, and ample gel frames, template holders, and cable.

Lighting cues can be pre-written by downloading Expression Off-Line, available on ETC’s website www.etcconnect.com.
The console can be run through the Show Control computer with Qlab 2.3.4 software.

Repertory Plot:

There is a repertory light plot hung at Dance Place, comprised of one (1) system of front light, two (2) systems of back light, two (2) systems of high sides, two (2) systems of cyc light, and three (3) positions on the booms (shins, mids, and head highs). Additional repertory units include a third partial system of back light, and a third system of cyc light which can be patched at the discretion of the Lighting Designer. See the Light Plot and Hook Up Sheet for details. Changes to the repertory plot are highly discouraged and must be approved by the Technical Director at the Production Meeting.

Additional Inventory:

There are forty-one (41) open circuits on the grid, four (4) open circuits on the Front of House pipe, and ten (10) open circuits on the floor to be used for specials. Thirty-nine (39) dimmers are open to be used for specials. Lighting instruments available to be hung as specials are the following:

• thirty-one (31) Source Four bodies (750 watts)
– frame size: 6 ¼”seven (7) 19 degree lenses
         seven (7) 26 degree lenses
         twelve (12) 36 degree lenses
         fifteen (15) 50 degree lenses
         seven (7) 70 degree lenses
         six (6) 90 degree lenses

• ten (10) Altman 360Q lekos (575 watts)
– frame size: 7 ½”
ten (10) 6×9 lenses
three (3) 4 ½” x 6 ½” lenses
• two (2) 3 ½″ x 8″ lekos (500 watts)
– frame size: 3″
• four (4) 4 ½” mini-zooms (575 watts)
– frame size: 6 ¼”
• ten (10) 6″ fresnels (500 watts)
– frame size: 7 ½”

Sound Equipment and Information

Speakers

• Mains: two (2) EAW FR153Z

– wattage: 500w

• Subs: two (2) homemade 15″ drivers

• Monitors: four (4) Klipsch KSM 10″

Console

Primary:

• Yamaha LS9-32

Secondary:

• Mackie Micro Series 1402-VLZ 14 Channel Mic/Line Mixer

Processors
• Sabine PowerQ ADF-4000
• Reverb Unit: Lexicon MPX500 24-Bit Dual Channel Processor 
• Ashley XR2001 Electronic Crossover

Amplifiers
• Crown K2 (drives mains)
• Crown K1 (drives monitors)
• Crown 1600 PA-03 (drives low end subs)

Players
• Show Control computer with Qlab 2.3.4 software
• Numark Dual CD Player

Microphones
• three (3) 6″ Shure ULXP4 wireless lavalier system
• two (2) Shure UC wireless systems with two (2) SHURE SM58 wireless handheld microphones
• three (3) Shure SM58 wired handheld microphones
• two (2) Shure SM57 wired handheld microphones
• three (3) Shure VP-89 shotgun mics

Additional equipment:
• 6 channel in, 2 channel out snake stage left; 8 channel in, 4 channel out snake stage right 
• three (3) straight mic stands, three (3) boom mic stands, five (5) short table-top mic stands

Projection Equipment and Information

Primary Equipment:

 • Cyc/Back wall projection:

             Sony VPL-FH500L
             Brightness: 7000 lumens
             Resolution: 1900×1200
             Magnification: 0.89x fixed

 • Floor projection: 

            4 edge-blended Panasonic PT-DW6300ULS
            Brightness: 6000 Lumens
            Resolution: 1280×768
            Magnification: 0.8x fixed

Secondary Equipment:

Hitachi CP-X443
Brightness: 2700 lumens
Resolution: 1024×768
Magnification: 2.31x – 3.01x zoom lens

Additional equipment:

• Show Control computer with Qlab 2.3.4 software to control up to 3 projectors
• Flapper Mini remote control dowser
• Wireless video transmitter and receiver for live feed projection
• Matrox Dual Head2Go external multi-display adapter

Communication Equipment and Information

• Intercom: Production Intercom with five (5) wired headsets for communication between light booth and backstage
• Three (3) Motorola T5000 Walkie Talkies for communication between House Management, light booth, and backstage
• Infrared camera with infrared illuminator and monitor for use by Stage Management

Technical Production Schedule and Deadlines

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

Thursday
1:00 – 6:00 pm, Hang and Focus, Full Crew (3), 15 minute crew break at 3:30
7:00 – 10:00 pm, Dry Tech

Friday
2:00 – 6:00 pm, Wet Tech/Cue-in rehearsal, Partial Crew (2)
6:00 – 7:00 pm Crew break
7:30 – 11:00 pm Dress Rehearsal, Full Crew (3)

Saturday
5:00 pm, Crew and artist call, Full Crew (3)
5:00 – 7:30 pm Free stage
6:30 pm Set up house, Performers can remain onstage
7:00 pm Lobby opens
7:30 pm House opens (stage clear)
8:00 pm Curtain

Sunday – between November and February
1:00 pm Crew and artist call, Partial Crew (2)
1:00 – 3:30 pm Free stage
2:30 pm Set up house, Performers can remain onstage
3:00 pm Lobby opens, Full Crew (3)
3:30 pm House opens (stage clear)
4:00 pm Curtain

Sunday – between March through October
4:00 pm Crew and artist call, Partial Crew (2)
4:00 – 6:30 pm Free stage
5:30 pm Set up house, Performers can remain onstage
6:00 pm Lobby opens, Full Crew (3)
6:30 pm House opens (stage clear)
7:00 pm 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 Technical Director to establish appropriate schedule.

Deadlines:

Three (3) months prior to opening night :
Arrange Production Meetings with Production Staff. Topics to be discussed include technical paperwork, receptions, post-performance talk back sessions, late seating procedures, audience programs, potential additional fees and any other outstanding questions.

Six (6) weeks prior:
First Production Meeting is completed. Lighting designer and stage manager must be secured by this time.

Three (3) Wednesdays prior:
Audience program information must be submitted for review by Production Manager.

Two (2) Fridays prior:
All final technical paperwork, show CDs and DVDs (for projection) must be received and approved by Technical Director.

One (1) week prior:
Comp ticket list must be received by Box Office Manager.

 
Updated: