<div dir="ltr"><div class="gmail_default" style="font-family:verdana,sans-serif">All my early theatre experience, acting and as a sound and lighting designer was in a small theatre in the round which often performed in a 3/4 configuration so that was all I knew for my first 30 shows or so and it seemed completely normal to me. It also taught me that directionality was extremely important in theatre sound. The theatre was called the Community Theatre of the Monterey Peninsula at the time and is now the Gold Bough Circle Players (as it was before being called CTMP...) It was an amazing experience!</div><div class="gmail_default" style="font-family:verdana,sans-serif"><br></div><div class="gmail_default" style="font-family:verdana,sans-serif">Charlie</div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, Apr 27, 2017 at 11:46 AM, Judy Kupferman via Stagecraft <span dir="ltr"><<a href="mailto:stagecraft@theatrical.net" target="_blank">stagecraft@theatrical.net</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr">One of the best shows I've seen in my life was in the round, and it was a completely conventional play - "A View from the Bridge." I was young and didn't know anything about stagecraft, but the actors were absolutely terrific and that is what has stayed in my mind. Forty years later, I can still hear the actress cry out "You want something else, Eddie, and you can never have her!"<br><br>I think because it was in the round, the actors may have felt more immediate and present than in a proscenium stage, and that's why it had such an effect on me. Can't remember the scenery at all.<br><br>Judy</div><div id="m_5741254504199018104DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2"><br>
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