[SML] Load-in for the Tony Awards

[Wild, Larry]

If my memory is correct. During WW2, the stage of the Radio City Music Hall was considered TOP SECRET because the stage elevators were the model for the elevators used on the aircraft carriers. Of course I may be wrong...
Larry Wild
Old guy from South Dakota
KE0BTV
________________________________
From: Stagecraft [stagecraft-bounces at theatrical.net] on behalf of Michael Sauder via Stagecraft [stagecraft at theatrical.net]
Sent: Monday, February 04, 2019 3:16 PM
To: Stagecraft Mailing List
Cc: Michael Sauder; Edward Hunter
Subject: Re: [SML] Load-in for the Tony Awards

In terms of getting it built in time, load-in and rehearsals take 11 days. In terms of space we have, to quote a colleague, an "aircraft carrier for a stage." We don't have large wing space, but we do have three huge stage + pit elevators and two lower levels that scenery can be shuffled to.

I can't really speak for the design side of things, sorry.

Michael

On Mon, Feb 4, 2019 at 3:43 PM Brian Munroe via Stagecraft <stagecraft at theatrical.net<mailto:stagecraft at theatrical.net>> wrote:
With the permanent video wall at Radio City, and the video “legs” that have been a part of the Tonys design for several years now, there is less physical scenery than there was in the past. What show specific scenery there is has been built and paid for by the shows themselves. Whatever commercial shop built the show will almost always b3 the shop that builds the show’s Tony set.  Often the scenery is designed with an eye towards re-using the scenery for the tour, sometimes designed specifically for the Tonys.

Brian Munroe
Sent from my iThingy. Please excuse any typos

> On Feb 4, 2019, at 3:27 PM, Edward Hunter via Stagecraft <stagecraft at theatrical.net<mailto:stagecraft at theatrical.net>> wrote:
>
> I've been wondering recently about the logistics of the Tony Awards. The two big questions are:
> 1) I assume the sets you see are specifically built for the awards show. What are the logistics of putting all the different shows into the one space? Getting them all built in time etc.
> 2) How much control do the lighting designers have over the plot? How do they organizing cueing, tech, etc.
>
> -Ed
>
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