Marie, that would be the "Jonah Syndrome." Or maybe the "Pinnochio Factor."<p>[This message has been edited by Maggie (edited March 23, 2001).]

You know, there are still a handful of so-called nationally famous venues in the US that won't allow tech time for touring dance companies the night before the show, because they count cost by the evening.<p>[This message has been edited by Azlan (edited March 27, 2001).]

Marie, sorry to read your horror story, but glad to hear it was a fundraiser for a good reason. <P>A couple of things: <P>Entertainment is a business these days, even down to local events. Before you go into a rented venue, you need to decide what your needs are. This goes from dressing rooms to tech time needs. <P>I would also encourage you and whomever else wishes to present events such as this in the future to accumulate some designer friends as well as those with experience in production management and technical theater. Sorry for the long sentence! But it sounds like you have good intentions but still need some guidance on the technical end. (Dancers aren't always the best qualified to fight with house guys about contracts... <P>Theaters will screw you every which way they can, when it comes to renting the space. You need all the help you can get, in that respect. <P>Unfortunately, it's not about the art these days. It's more so about money. You have to protect yourself. And get the most out of your rental fee. <P>Meredith

Sadly, I think it has to be about money. It costs money to do anything. You can still prepare, and make it as safe as possible. But it costs money to pay the staff, to rent the building, pay for the electricity, etc.<P>I would suspect that the impression of the theater manager is that the artist is trying to get all they can from the theater for nothing.

I've been in situations before where the Production Manager shoos everyone out the door by 11:30pm to avoid paying extra fees.

Indeed, because it is quite possible the renter or the theater will suddenly be having to pay x1.5 or x2 for the labor.<P>Manys the night I'm literally hearding people out the door so we don't go into overtime, or drop into another hour that I didn't budget for originally. It's a little like herding cats, but it's gotta be done.

Herding cats, lol! <P>Meredith, if this was my show I would have expanded on the tech. support end of things but when you're not producing the show you can't exactly jump in and tell everyone how you think it should be done. <P>One thing I would do differently now though is get everything in writing--because it is about money--when it's a very short term engagement like this one was, which is not something I would have previously thought about. If you are being presented by a venue the contract is a lot clearer. Maybe I'll buy my friend a copy of the Theatre Management Handbook.

Marie,<P>Yes. Yes. Yes. Get as much as you can think of with regards to your negotiations in writing. And I think you should feel free to ask them what the rules are regarding overtime, meal penalties, etc for the house production crew (as well as overhire.) Do they have a union contract, or are they using college students? That sort of thing. <P>I'm a technician by trade (and at heart), so a lot of these questions are second-nature to me. But I can see from your narration of your experience that they are daunting propositions for performing artists to attack, unless you are able to arm yourself with as much knowledge as possible in advance. <P>You can never assume that one IA contract is the same for all theaters in a city. I work in DC, and we have different contracts with many, many venues. Most of them are good, but some of them stink. (The MCI Center, for example.) So, if you hear one thing from one theater in your area, do not ever assume it's the same arrangement in a different venue in the same area.<P>Regards,<BR>Meredith <P>PS: I ran spot tonight for Bryan Adams (that 10 (yes, ten) hit wonder from the 80s). He still looks like a 12 year old--he's 42--and he still does great shows. He's gotten a new tack; he played the Warner Theater here in DC, which is a lovely old turn of the century gilt 'n' gold-leaf nightmare of a proscenium theater. Just him, a drummer and his guitarist. Very minimal and very cool. And his fans are still coming to see him, which I think is great! I met him backstage when I got sucked into his dressing room to take a picture of him and some groupies. Nice guy. Okay, enough of me flashing back to high school in the early 80's sorry...but I do think it's righteous that he's still out there and still solid...even if this PS had nothing to do with dance...)

Meredith thanks so much for all of your very helpful advice. And it's good to hear that someone still goes to see Bryan Adams, lol! We just keep shipping Canadians south to keep you out of our hair, you know! On another non-dance note I popped down to Seattle to see Nick Cave play with Warren Ellis and co. at the Paramount on Thursday and they were bare bones too but the sound, oh, the sound. Who ever miked the drum kit did an amazing job. Good technicians can really make or break a show.<P>

Marie, if you have any more Canadians like k.d. lang, send 'em on down!

You should have heard the sound at Alvin Ailey when they here in the SF Bay Area. Sounded like it came from a little boombox...

I'm surprised, Azlan....was it at a venue where you have heard good sound?

Yes, Elaine. It's quite a famous venue... I really don't know what happened with the sound.

Then I would hazard a guess that it was bad material. Probably an old copy of an old copy of an old copy of the music.<P>So sad when that happens!<P>

It could have been that, Elaine.<P>It also could have been an equipment failure.<P>It could also have been that the company brings its own system and it wasn't adequate for the hall.<P>Then again, maybe Azlan's going deaf.<BR>