<div dir="auto">Good point. I did already tell that exact point to architect, and most universities and at least all the HS I've worked on. He showed a picture of one he did previously that didn't. Surprise.<div dir="auto"><br></div><div dir="auto">I might give up if it weren't for the deep and (too) wide forestage, but I've long thought the ability to blend forestage with stage via lighting was very important. I hate that when a performer crosses the plaster line and changes look. Plus the forestage is used a lot with house curtain closed and often web cast or televised - which demands some accent lighting.</div><div dir="auto"><br></div><div dir="auto">Yes I unretired for one more I thought would be fun - but not so much it turns out. On the other hand, I'm doing a project for a friend - free - a really crappy 1960s HS and modest upgrade - and really enjoying that. Thanks for asking, Dave.<br><div dir="auto"><br></div><div dir="auto"><br></div></div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Mon, Feb 19, 2024, 3:25 PM Dave Vick via Stagecraft <<a href="mailto:stagecraft@theatrical.net">stagecraft@theatrical.net</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="auto">First of all, I thought you retired. Since that's apparently not the case, why give up now? Fight on, sir.</div><div dir="auto"><br></div><div dir="auto">If it helps, since they take pride in their theatre program, you could point out that pretty much every pro theatre in the world has box boom positions. I've never toured through one that didn't. Never. Ever. Why would they teach their students otherwise?</div><div dir="auto"><br></div><div dir="auto">-DV</div>
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