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Theatre Consultants:
How to Work Together Harmoniously to Get Your Project Done Right the First
Time
Everyone has a dream for the future of his or her theatre, but not everyone
has the practical knowledge to make the dream a reality in a way that is both
cost-efficient and artistically appealing. That is where theatre consultants
come in.
The American Society of Theatre Consultants (ASTC) defines theatre consulting
as “a process which engages the collaboration of the owner, the architect
and all of the design team members, as well as general and specialty contractors.”
Their role is to contribute to the collaborative process by providing input
not only from a technical perspective but also by factoring in the design
and specification of theatre systems.
Described by Rose Steele of the California-based firm Landry and Bogan as
“the guardians of theatrical function,” theatre consultants are
professionals who speak the language of theatre as well as the language of
architecture. Consultants and architects who specialize in theatrical projects
have a special understanding of the uniqueness of a performance space and
how things need to work. They are designers, producers and technicians with
expertise in the building of performance spaces, which are considered second
only to that of hospitals and high-tech laboratories in their level of complexity.
Consulting firms can be found all across the country and vary in size from
small one-person consultancies to full-service organizations with large staffs
of experts in a number of fields including architecture, lighting design,
electrical engineering and technical theatre.
Whether you are installing new lighting or rigging equipment, updating your
multimedia package, revamping your acoustics, remodeling your theatre or building
a new one, you can find consultants with the experience and know-how to meet
your specific needs in ways that are both cost-efficient and artistically
appealing.
Can I Afford to Use a Consultant?
A better question may be “Can I afford not to?” According to Benton
Delinger, of Theatre Projects Consultants, not working with a consultant “can
make things more complicated and more dangerous, and may cost more money in
the long run.”
Many firms will adjust fees and work to do the most within your budget. “A
tight budget, whether large or small, challenges the design team to find the
most cost-effective solutions,” says Robert Long, a consultant with Theatre
Consultants Collaborative.
Every project is different, but there is usually a performing arts package
based on the overall value of the project itself. According to Long, the package
usually costs 10 to 17 percent of the project value and includes fees for
the architect, engineers and other consultants. The theatre consultant’s
fee is usually .5 to 2 percent of the overall project value.
Doing the math can make your head spin. Knowing the amount of money you will
save having things done right the first time is well worth it.
How Do I Find a Consultant I Can Trust?
Even theatre consultants recommend doing your research and checking references.
Don’t just view a portfolio or read about a company on its website. Visit
project sites and talk to technical directors working in those spaces. Ask
specific questions about adherence to schedules, budgets and project parameters
to determine the most workable relationship.
To find a list of experienced theatre consultants, visit the newly redesigned
ASTC website (www.theatreconsultants.org), which lists all ASTC members. Not
every theatre consultant in the country belongs to ASTC, but those who do
meet professional guidelines, follow a code of ethics and have several years
of consulting experience.
Getting Constructive Expertise
Oftentimes to save money, theatres have tried to hire technical expertise
that lacks working knowledge of theatrical productions. There are some success
stories; however, there are many more horror stories of well-intentioned money
pits that are on a never-ending reconstruction bid.
“There are a million questions that need to be answered,” says Cosmo
Catalano, technical supervisor of the Williams College ‘62 Center for
Theatre and Dance, “and the theatre consultant has the experience to
know what these questions are.”
What is the relationship like between the auditorium and the stage? How are
the sightlines? Will the patrons be comfortable? Are the dressing rooms accessible
from the stage? Are there enough bathrooms for the public? Will the lighting
and rigging equipment fit in the space? How are the acoustics? Is the theatre
sealed from outside light and sound? Can the loading dock accommodate equipment
needs?
Of course no one sets out to forget dressing rooms, build unsafe loading docks,
install noisy mechanical systems or to create terrible sightlines. But these
things happen when there is no one advocating for the functionality of the
performance space.
How it all works — a Predictable Process for Building
Ideally the theatre consultant will be involved from the very beginning of
the project, from pre-design through construction and beyond, offering advice
and expertise every step of the way.
Long, who is also a past president of ASTC, describes the building process
in six distinct phases. Here they are in terms those of us who don’t
speak architecture can understand:
1. Pre-design Phase
Described by Delinger as “the time to dream,” during pre-design
you make a wish list and form the basis for the real design of your facility.
This part of the process often includes a feasibility study or a needs assessment.
At the end of this phase, you will have a list of spaces you want in the building
and a preliminary idea of what it will cost.
2. Schematic Design Phase
Here you take the space list, budget and preliminary designs and flush them
out. The layout of the spaces, walls, corridors and access to the
building are determined during this phase. This includes rough ideas
of where ductwork goes, where mechanical spaces need to be and how electrical
services will be accommodated.
3. Design Development Phase
Now you continue refining the design. At the end of this phase you need to
be completely satisfied with the plans. Changes after this phase are costly
in terms of both time and money.
4. Contract Document Phase
The architect, engineers and theatre consultant draw up detailed construction
documents that are the recipe for the new building. These legally binding
documents describe exactly what the general contractor is required to deliver.
5. Bidding Phase
Now it is time to find someone who will build the facility at a price that
fits your budget. Traditionally an RFP (request for proposal) is sent to several
contractors who bid on the complete project. It is becoming more common, however,
to have a construction manager who negotiates deals with individual contractors.
6. Construction Administration Phase
Finally your building begins to become a reality. Throughout construction
the theatre consultant will monitor progress and be on hand to test equipment
and be sure that everything is working as planned. The consultant’s job
doesn’t always end there. Oftentimes he or she visits the site to make
sure that everything is working properly or to assist with any training.
For a more detailed look at how some theatres have used consultants, see the
following case studies.
CASE STUDY #1
Hillsdale High School, San Mateo, California
Project Type: Lighting Systems Renovation
Project Cost: $329,000
Theatre Consultant: Landry & Bogan Theatre Consultants, Inc.
The Challenge – Working with a limited budget to update lighting equipment
in two high school theatre facilities, making safer, more energy-efficient
multi-use spaces.
The Facility – Hillsdale High School is home to two theatre venues, both
in an “end stage” configuration. The 904-seat Main Theatre is used
for large events and assemblies while the 200-seat Little Theatre is used
primarily for drama.
The Process – In 2001, Landry and Bogan Theatre Consultants was hired
by the San Mateo Union High School District to revamp the lighting systems
in the school’s theatres. Heather McAvoy, the principal consultant with
the firm, toured the facilities, reviewing the condition of the existing systems,
identifying equipment that could be reused and what outdated equipment needed
to be removed.
With the exception of a new console in the Main Theatre which could be reused,
all stage lighting equipment needed to be replaced. Many of the stage
lights included antiquated fixtures with asbestos leads.
Lighting fixtures were replaced with a new complement of safer, more energy-efficient
fixtures. New stage and house lighting control systems were designed for both
venues.
An electrical engineer was brought in to consult on the emergency lighting
transfer switch required for the venue, and an audio-visual consultant was
brought in to design upgraded sound systems for both venues. Additional rigging
equipment was also purchased. The entire project was coordinated with a construction
management company responsible for overseeing multiple projects within the
school district.
Helpful Hints – Know the chain of command. “In the case of a public
high school it is important for the client to verify what authority has oversight
over the project and what procedures will be mandated by that authority,”
says McAvoy. This process will vary from district to district, and projects
can get bogged down and schedules derailed if the required procedures are
not followed.
CASE STUDY #2
The Topia Arts Center, Adams, Massachusetts
Project Type: Renovation
Project Cost: $3 million
Theatre Consultant: Theatre Consultants Collaborative
The Challenge – Working with a limited budget to convert a gutted-out
historic movie theatre into a unique, flexible venue suitable for live performances,
movies and community events.
The Facility – Artist and musician Nana Simopoulos and Caryn Heilman,
a dancer and choreographer, had a dream of creating their own performing arts
center. While searching for the perfect location, they discovered a long-abandoned
1930s movie house in the Berkshires and saw the potential to turn it into
a space for music, dance, film, theatre and multidisciplinary performances
and classes.
In its heyday, the theatre sat 1,000 in the plush style of the time. Exposed
to the elements for many years, the theatre was just a shell of its former
self.
The Process – In October 2004, Simopoulos and Heilman held a visioning
meeting with arts and education leaders in the community. A concept was created
for a very flexible space to be named the Topia Arts Center.
They secured a $10,000 grant from the Barrett Fund for Adams, Cheshire &
Savoy, administered by the Berkshire Taconic Foundation, to begin work with
a theatre consultant and acoustician.
After speaking with several theatre designers, they chose Robert Long of Theatre
Consultants Collaborative (TCC) because “we had the feeling that he really
had the background and knowledge, that he was up to doing something whimsical
and exciting,” says Simopoulos.
In March 2005, TCC completed a feasibility study for the project and created
a design concept that the architect will be able to develop once the official
design phase begins.
“This is a situation where pure creativity will outweigh a small budget,”
notes Long, whose consulting firm estimated the cost of the project to be
approximately $3 million.
The project is currently on hold while funds are raised, but that hasn’t
stopped Simopoulos and Heilman from producing. The Topia Arts Center operates
on a smaller scale in the adjacent Topia Café, hosting live performances,
classes and workshops.
Once the project moves ahead, “Our role will change from leading the
design feasibility study to working as part of the design team to assist with
the development of the initial design concept. We will also take on the responsibility
for the design of the performance equipment and its integration into the new
performance facility,” says Long.
Helpful Hints – Don’t give up. The fact that The Topia Arts Center
continues to run without its permanent home is a true testament to the organization’s
commitment to the community and to the arts.
Find simple and appropriate solutions. Long says that tight budgets often
require additional creativity and suggests looking for simple and appropriate
solutions.
CASE STUDY #3
Williams College ‘62 Center for Theatre & Dance, Williamstown, Massachusetts
Project Type: New Construction
Project Cost: $50 million
Theatre Consultant: Theatre Projects Incorporated
Architect: William Rawn Associates
The Challenge – To create a more professional, multi-use complex for
the Williams College theatre and dance department.
The Facility – Named in honor of the Williams College class of 1962,
the ‘62 Center for Theatre and Dance is 126,000 square feet of teaching,
performance and rehearsal space for the college’s theatre and dance department
and home of the famed Williamstown Theatre Festival.
The center, which was completed in 2005, includes four performance spaces:
the 550-seat MainStage proscenium theatre; the flexible 200-seat CenterStage
studio theatre; the Dance Studio; and the Adams Memorial Theatre, which was
renovated into a 210-seat thrust theatre.
The Process – Initial research on the project began in 1998. The basic
design for the center was approved in 1999 and an RFP was sent out. The building
committee, which included administrators from the college and the theatre,
interviewed several architectural firms and toured project sites before choosing
William Rawn Associates.
The architect hired Theatre Projects Consultants (TPC), a full-service firm
based in South Norwalk, Connecticut. There were 10 TPC staffers working on
the project at any given time, responsible for theatre planning and programming;
creating concept designs for the new spaces and for the renovation of the
existing theatre; and to design performance equipment systems including lighting,
rigging, stage machinery and the studio theatre platform system.
The original plan was for a new facility in a new location. Partway into the
schematic design phase, however, the project was put on hold as the decision
was made to incorporate the new facility with the college’s existing
theatre and dance facility instead. A new design was created and the project
proceeded as planned in the new location.
Helpful Hints – Designate a good client representative. According to
Delinger, who served as the project manager, working with a user representative
who truly understood the use of the building was hugely helpful and saved
a significant amount of money. Cosmo Catalano, who served as the user representative
on the project, was able to focus on the task because the college hired staff
to take over his responsibilities as technical director and production manager.
Understand the value of your resources. Some may have seen the change in location
as a setback because it put the project on hold, but in the long run, combining
the new facility with the old saved money and made better use of resources.
CASE STUDY #4
The California Theatre, San Jose, California
Project Type: Historical Renovation
Project Cost: $75 million
Theatre Consultant: Auerbach Pollock Friedlander
Architectural Lighting Designer: Auerbach Glasow
Architect: ELS Architecture and Urban Design
The Challenge – To restore a historic 1920s movie house to its original
elegance with the flexibility to present live opera, symphony performances
and classic film.
The Facility – San Jose’s California Theatre is one of the best-preserved
examples of late-1920s motion picture houses in the country. Shuttered for
more than 30 years, the theatre was near demolition before purchase by the
San Jose Redevelopment Agency in 1985.
Completely restored to its original elegance in 2004, with modern-day acoustics
and technology, the 85,000 square-foot, 1,100-seat auditorium has become the
home of Opera San Jose and Symphony Silicon Valley.
The Process – “The realities of renovating older theatres are complex
and costly, especially when dealing with renovations of road houses where
aging infrastructure often collides with the requirements of modern production,”
says Steve Pollock of the San Francisco and New York-based consulting firm
Auerbach Pollock Friedlander (APF), and principal in charge of the project.
In 1998, the Packard Humanities Institute funded a study by ELS Architects
and APF. The main challenge of converting the theatre into a performance facility
was the need for a larger and wider stage house and the lack of expansion
room due to the close proximity of the Sainte Claire Hotel, whose service
alley was blocking the way. With the cooperation of the hotel, the service
alley was relocated and a new, larger stage house could be constructed, gaining
13 feet of valuable stage depth.
Once that hurdle was crossed, ELS and APF were hired by the San Jose Redevelopment
Agency to begin the design process. To accommodate live productions, the rear
orchestra seating level and balcony were slightly re-raked for better sightlines.
A sound-dampening roof structure was added to reduce outside noise penetration.
New structural framing and seismic bracing were built throughout, carefully
placed to accommodate restored historic features. New stage rigging and curtains,
orchestra pit lift and theatrical lighting and sound systems were installed
and the projection booth was renovated.
Helpful Hints – Think outside the box. Between 1985 and 1998, the project
was put on hold several times because of the small stage house and the lack
of room for expansion. Approaching the hotel about relocating its service
alley was a unique solution with a huge impact.
Create a renovation master plan. According to Pollock, the best method for
proceeding with any renovation is to create a master plan carefully identifying
architectural building requirements as well as theatre systems needs.
