AUERBACH POLLOCK FRIEDLANDER

Auerbach Pollock Friedlander Completes Theatre Consulting and Sound, Video and Communications Consulting for the Renovation of The Cutler Majestic Theatre and the new Tufte Performance and Production Center at Emerson College

SAN FRANCISCO, CA - NEW YORK, NY (May 14, 2004)— AUERBACH POLLOCK FRIEDLANDER, Performing Arts /Media Facilities Planning and Design, with offices in San Francisco, New York and Minneapolis is pleased to announce completion of work on the renovation of the Cutler Majestic Theatre (formerly the Majestic Theatre) and the new Tufte Performance and Production Center at Emerson College. The Cutler and the Tufte are adjacent to one another in the heart of Boston’s Theatre District. The facilities are a century apart in age.

Opening in 1903, the Cutler has seen almost continuous use during its 100-year tenure as a popular venue for many of Boston’s local performing arts groups. It has undergone several renovations, but has been in physical decline for many years. As theatre consultant to architect Elkus-Manfredi, AUERBACH POLLOCK FRIEDLANDER advised on the planning, renovation and restoration and system upgrades for the Cutler. “Upgrading historic theatres to accommodate modern technology is always a challenge. Each project is unique and we treat each theatre that way,” said, Steven Friedlander, Principal-in-Charge for AUERBACH POLLOCK FRIEDLANDER.

Part of AUERBACH POLLOCK FRIEDLANDER’s role was upgrading the Cutler’s stage facilities to improve safety and upgrade technical systems. These improvements allow larger touring productions to rent the space.

The second balcony which was closed to the public in 1956 was modified to improve public safety. “We worked (with the architect) on creating safe circulation to the upper seats while not compromising the excellent sightlines to the stage,” Don Guyton, Project Manager for AUERBACH POLLOCK FRIEDLANDER said. The newly opened, renovated Cutler increased seating capacity to 1,121 from 925 prior to the renovation.

The Cutler’s renovation has enhanced Emerson’s College profile. The project won the prestigious Boston Preservation Alliance 2003 Achievement Award and is on the National Register of Historic Places. According to the New York Times, the restoration has prompted new development in the surrounding area.

While the Cutler is a technologically-current, but historic theatre, the Tufte Performance and Production Center is new inside and out. AUERBACH POLLOCK FRIEDLANDER advised Elkus-Manfredi on the planning, space design, and theatrical systems for the Tufte, a twenty-eight million dollar facility. The 11-story building houses two theaters: The Semel Theatre and The Kermit and Elinore Greene Theater. It also houses the associated support spaces for the Theater Department, two studios for the Television, Radio and Film Department, a lighting lab, a large costume shop, scene shop, design classrooms, faculty and departmental offices and conference rooms. The lower levels of the Tufte include a loading dock, technical offices, upstage crossover, dressing rooms and a green room for the Cutler.

The team for the renovation of the Cutler Majestic Theatre and the new Tufte Performance and Production Center was lead by Elkus/Manfredi, the architects, with Kirkegaard Associates as acoustics consultant. The AUERBACH POLLOCK FRIEDLANDER team included, Steven Friedlander, ASTC, Principal-in-Charge and Don Guyton, Project Manager.

FACT SHEET: THE CUTLER MAJESTIC THEATRE

The renovation of the Cutler Majestic Theatre at Emerson College restored the historic theatre to its beaux-arts style grandeur. AUERBACH POLLOCK FRIEDLANDER participated with Elkus-Manfredi, architect, and Kirkegaard Associates, acoustics consultant.

Seating

The main floor of the auditorium was reconfigured to improve sightlines, circulation paths, meet current codes, and accommodate handicapped patrons. The entry aisles were moved to the sides to allow a steeper rake at the back of the auditorium for better sightlines and a cross aisle was added for better public circulation. Much needed sound and light locks were added to the main orchestra level to eliminate distractions from the main lobby and street.

Stair exits were reconfigured to permit the second balcony to be reopened bringing the seating capacity up to 1,121 seats, which made the venue more desirable to larger touring companies.

Sixty of the original 1903 seats were still on site and have been refurbished. They now fill two special rows creating a historically accurate seating section. Other more recently acquired seats were refurbished with new backs and seat bottoms similar to the originals and some seats were manufactured to replicate the originals. Two areas within the house offer wider more comfortable seats, creating special VIP seating areas.

Rigging

The usable stage area was expanded by removing an HVAC duct running across the back wall and an upstage crossover catwalk at the gallery level that had become unstable. This provided an additional five feet of clear stage depth. The existing linesets were re-spaced on eight-inch centers and thirteen new linesets were added, for a new total of 47.

Safe access to galleries on both sides of the stage was added. A previously abandoned high fly gallery was re-installed, which provides an additional full stage depth pin rail.

Due to limited wing space, a second locking rail was added to the lower fly floor so that fly cues could be executed above the stage and the full stage area could be clear for scenery storage.

Strong points were added to the roof structure in the auditorium attic space and cable sleeves were integrated into the restored ceiling so traveling shows can hang trusses when needed. A 100-amp company switch and network control wiring was added above the ceiling to provide power for chain hoists and control for potential lighting rigs.

Lighting

Lighting system upgrades were small in scale but provide a large impact on the operation of the existing system. The theatre had been using Entertainment Technologies portable distributed dimming equipment for their front of house dimming in conjunction with rental dimmers in the stage house on a per show basis for each production. This system worked for the users and they wanted to continue with a similar flexible front of house system, combined with rental dimmers on stage. The existing electrical infrastructure was kept and expanded.

A second 400-amp company switch was added to the jump on stage left, allowing larger touring companies to hoist dimmer racks to this location, leaving the stage floor clear.

A new Ethernet based lighting control network was added. The network interfaces with DMX wiring at previously existing lighting positions.

A new architectural house lighting dimming system was added. It has its own control system and communicates via the new lighting control network allowing direct control from the house console or touring console using either Ethernet or DMX.

Several new lighting positions were added; box booms at the second balcony, a front of house pipe was added to the back wall of the balcony providing a forty-five degree front light, and a low angle balcony rail was added to the front of the mezzanine. New electrical services and network wiring were run to each of the new lighting positions for a distributed dimming scenario.

Two followspot positions were added above the vomitory entrances in the second balcony.

Audio

Speakers were added for the re-opened second balcony and under balcony fill speakers were used to augment the existing sound system. Stage lip speakers were added at the front of the stage to fill in below the existing main cluster.

Stage audio monitoring was added for the new dressing rooms, offices, and public spaces. Audio paging to the lobbies was added, as well as video monitoring for latecomer audience and back of house technical areas. The existing intercom system was enhanced to include new house control and followspot positions. An FM assistive listening system was added as a part of the Americans with Disabilities Act upgrades.

Two new house mix positions were created, one on the cross aisle and another at the rear of the orchestra seating level. A 200-amp audio power company switch was also added to provide additional isolated sound system power.

Cable passes were installed to allow easy installation of temporary cable runs for touring shows and television productions using their own gear.

Orchestra Pit Platforming In-Fill

The front edge of the stage and the opening to the orchestra pit were re-shaped and a new orchestra pit platforming system was designed and installed. A custom lightweight platform system with minimal support structure replaced the previous homemade system that was heavy and difficult to move. The new system can be set at three different elevations: stage level, audience seating level or orchestra pit level. The new system can be installed or removed in half the time that was required for the previous system.

Fall Protection

To provide safe access to new lighting positions in the house and rigging locations on the stage, several types of fall protection systems were required. Fall protection systems were added at the grid, the box booms, balcony rails, and new front of house lighting positions.

Drapery

A new main house curtain, styled after the 1903 original, was added to enhance the beautifully restored paint and details of the auditorium. Also in the beaux-arts style, decorative painted fabric headers and swag curtains were added to the box seating areas as well as mohair fabric wrapping of the balustrades and balcony railings.

FACT SHEET: THE TUFTE PERFORMANCE AND PRODUCTION CENTER

The Semel Theater

The Semel Theater is a 210-seat three-quarter thrust space. The 925 square foot stage is surrounded on three sides by raised fixed seating. The thrust portion of the stage consists of 650 square feet of a vertically adjustable platforming system in 3’ x 6’ sections. Platforms can be raised, lowered or removed individually or in groups. The platforms sit in a trap room twelve feet below the theater’s stage level allowing productions to use full escape stairs or stage elevators.

An upper gallery level runs around the room above and behind the audience seating area and provides two full control booths and other technical space.

Twenty-one feet above the theater floor is a 2500 square foot tension wire grid constructed in ten by ten foot modular panels. The tension wire grid provides a safe walking surface that also allows the placement of lighting, sound, rigging or other technical equipment virtually anywhere at that level of the room.

Seven sandbag and hemp linesets are located in the upstage area allowing backgrounds to be changed. A full stage traveler curtain and other masking are also located in the upstage area. Pin rails are located at both sides of the stage and heavy-duty double channel unistrut is located over the entire theater area to hang chain motors or spot rigging on an as needed basis.

Company switches are available on the gallery level for lighting, machinery, and isolated audio power.

The lighting system is network controlled and contains 366 2.4Kw and 9 6.0Kw dimmers in four dimmer racks plus a 12-circuit relay panel for non-dimming loads. The lighting system controls stage lighting, house, work, running lights, and a cue light system. Network control nodes are located in all technical locations throughout the theater. They are individually programmable and each has four universes of DMX. Lighting network control nodes are also located in the TV control room five floors above, and on the truck dock several floors below for remote control when the theater is used for video recording or broadcast. An ETC Obsession II is the control console. An integrated architectural lighting control system functions along side the performance system and allows lighting preset recall for operation of lighting by a stage manager or single technician when full console function is not required.

The sound, video and communication (SVC) systems provide the Semel Theater with sound reinforcement and sound effects playback, production video wiring infrastructure and technical backstage communications. The sound system features a digital mixing console, computer-based sound effects routing, playback and recording systems, and a complement of portable loudspeakers and subwoofers that can be located as required for various stage production needs. Other systems include assistive listening for the hearing impaired, audience recall, CCTV-type production video, CATV-type RF video distribution, latecomer video for lobby spaces, and show program monitoring and paging capabilities to backstage and dressing room areas. A dedicated signal wiring and patching infrastructure is provided around the theater, as well as tie-lines to the Greene Theater and the Central SVC Rack Room.

Television camera positions are located within the theater with video, ISO communications and camera tie-lines that run up five floors to the TV Control and Rack Rooms. This allows video recording within the theater to be switched from either the TV Control Room above or from a truck located at the loading dock.

The Kermit and Elinore Greene Theater

The Kermit and Elinore Greene Theater is an end-stage style theater with 130 seats steeply raked above a 1000 square foot stage.

An elevated gallery level surrounds the house and stage providing additional audience loge seating, a control booth and supplementary technical areas.

A full pipe grid arranged on four-foot centers is located eighteen feet above the stage. Individual front of house pipes provide additional lighting positions over the audience area. The main front of house lighting pipe is accessed via a bosun’s chair riding on a beam trolley. A fall protection system is provided.

The theater has a full drapery package including a main curtain, masking, blackout drop, scrims and a cyclorama.

The network controlled lighting system consists of 234 2.4Kw and 3 6.0Kw dimmers in two and a half racks of dimmers plus a 6-circuit DMX controlled relay panel. The lighting system controls the stage lights, house, work, and running lights. Network control nodes are located in all technical areas. An Express 72/144 console running with an Emphasis server is the front-end console for this theater. An integrated architectural lighting control system functions along side the performance system and allows lighting preset recall for operation of lighting by a stage manager or single technician when full console function is not required.

The sound, video and communication (SVC) systems provide sound reinforcement and playback, production video wiring infrastructure and technical backstage communications. The sound system features a digital mixing console, computer-based sound effects routing, playback and recording systems, and fixed left and right stereo loudspeaker arrays located above the stage platform. Other systems include assistive listening for the hearing impaired, audience recall, CCTV-type production video, CATV-type RF video distribution, latecomer video for lobby spaces, and show program monitoring and paging capabilities to backstage and dressing room areas. A dedicated signal wiring and patching infrastructure is provided around the theater, as well as tie-lines to the Semel Theater and the Central SVC Rack Room.

The Greene Theater has company switches for additional lighting, machinery and isolated audio power.

In addition to theater planning and theatrical systems, Auerbach•Glasow designed the architectural lighting for the Semel and Greene theaters.

Television Studio A

Television Studio A is a 41’ x 44’ space programmed for majors in the television field and is for actual broadcast.

A full pipe grid on four-foot centers covers the room fourteen feet above the floor. A double curtain track surrounds the room allowing black fabric panels or a TV cyclorama to be used as a background. The studio also has a permanently installed pro-cyc to provide a seamless background.

96 performance lighting circuits are located in plugging strips above the grid and on the sidewalls, and DMX driven relays control non-dimmable loads. The control room has network lighting control inputs for both this studio and the Semel Theater to allow productions to be taped or broadcast from either or both spaces.

A 400-amp company switch is available for additional power required within the studio.

Television Studio B

Television Studio B is a 28’ x 40’ studio space primarily for teaching television technology.

Similar to studio A, a full pipe grid on four-foot centers covers the room fourteen feet above the floor and a double curtain track circles the room allowing black fabric panels or a TV cyclorama to be used as a background.

48 performance lighting circuits are located in plugging strips above the grid and on the sidewalls. The control console is on the studio network allowing Studio B to function as an additional stage for a large TV production.

A 200-amp company switch is available for additional power required within the studio.

Light Lab

The Light Lab is a 400 square foot lighting classroom with a full pipe grid and a twenty-four dimmer lighting system. The dimmer rack is located in the classroom as a teaching tool as is a company switch to demonstrate tie-ins and operations of other types of touring dimmer racks. The control is a simple console with DMX direct to the dimmer rack.


		AUERBACH POLLOCK FRIEDLANDER COMPLETES WORK AT EMERSON COLLEGE Auerbach Pollock Friedlander Completes Theatre Consulting and Sound, Video and Communications Consulting for the Renovation of The Cutler Majestic Theatre and the new Tufte Performance and Production Center at Emerson College SAN FRANCISCO, CA - NEW YORK, NY (May 14, 2004)— AUERBACH POLLOCK FRIEDLANDER, Performing Arts /Media Facilities Planning and Design, with offices in San Francisco, New York and Minneapolis is pleased to announce completion of work on the renovation of the Cutler Majestic Theatre (formerly the Majestic Theatre) and the new Tufte Performance and Production Center at Emerson College. The Cutler and the Tufte are adjacent to one another in the heart of Boston’s Theatre District. The facilities are a century apart in age. Opening in 1903, the Cutler has seen almost continuous use during its 100-year tenure as a popular venue for many of Boston’s local performing arts groups. It has undergone several renovations, but has been in physical decline for many years. As theatre consultant to architect Elkus-Manfredi, AUERBACH POLLOCK FRIEDLANDER advised on the planning, renovation and restoration and system upgrades for the Cutler. “Upgrading historic theatres to accommodate modern technology is always a challenge. Each project is unique and we treat each theatre that way,” said, Steven Friedlander, Principal-in-Charge for AUERBACH POLLOCK FRIEDLANDER. Part of AUERBACH POLLOCK FRIEDLANDER’s role was upgrading the Cutler’s stage facilities to improve safety and upgrade technical systems. These improvements allow larger touring productions to rent the space. The second balcony which was closed to the public in 1956 was modified to improve public safety. “We worked (with the architect) on creating safe circulation to the upper seats while not compromising the excellent sightlines to the stage,” Don Guyton, Project Manager for AUERBACH POLLOCK FRIEDLANDER said. The newly opened, renovated Cutler increased seating capacity to 1,121 from 925 prior to the renovation. The Cutler’s renovation has enhanced Emerson’s College profile. The project won the prestigious Boston Preservation Alliance 2003 Achievement Award and is on the National Register of Historic Places. According to the New York Times, the restoration has prompted new development in the surrounding area. While the Cutler is a technologically-current, but historic theatre, the Tufte Performance and Production Center is new inside and out. AUERBACH POLLOCK FRIEDLANDER advised Elkus-Manfredi on the planning, space design, and theatrical systems for the Tufte, a twenty-eight million dollar facility. The 11-story building houses two theaters: The Semel Theatre and The Kermit and Elinore Greene Theater. It also houses the associated support spaces for the Theater Department, two studios for the Television, Radio and Film Department, a lighting lab, a large costume shop, scene shop, design classrooms, faculty and departmental offices and conference rooms. The lower levels of the Tufte include a loading dock, technical offices, upstage crossover, dressing rooms and a green room for the Cutler. The team for the renovation of the Cutler Majestic Theatre and the new Tufte Performance and Production Center was lead by Elkus/Manfredi, the architects, with Kirkegaard Associates as acoustics consultant. The AUERBACH POLLOCK FRIEDLANDER team included, Steven Friedlander, ASTC, Principal-in-Charge and Don Guyton, Project Manager. FACT SHEET: THE CUTLER MAJESTIC THEATRE The renovation of the Cutler Majestic Theatre at Emerson College restored the historic theatre to its beaux-arts style grandeur. AUERBACH POLLOCK FRIEDLANDER participated with Elkus-Manfredi, architect, and Kirkegaard Associates, acoustics consultant. Seating The main floor of the auditorium was reconfigured to improve sightlines, circulation paths, meet current codes, and accommodate handicapped patrons. The entry aisles were moved to the sides to allow a steeper rake at the back of the auditorium for better sightlines and a cross aisle was added for better public circulation. Much needed sound and light locks were added to the main orchestra level to eliminate distractions from the main lobby and street. Stair exits were reconfigured to permit the second balcony to be reopened bringing the seating capacity up to 1,121 seats, which made the venue more desirable to larger touring companies. Sixty of the original 1903 seats were still on site and have been refurbished. They now fill two special rows creating a historically accurate seating section. Other more recently acquired seats were refurbished with new backs and seat bottoms similar to the originals and some seats were manufactured to replicate the originals. Two areas within the house offer wider more comfortable seats, creating special VIP seating areas. Rigging The usable stage area was expanded by removing an HVAC duct running across the back wall and an upstage crossover catwalk at the gallery level that had become unstable. This provided an additional five feet of clear stage depth. The existing linesets were re-spaced on eight-inch centers and thirteen new linesets were added, for a new total of 47. Safe access to galleries on both sides of the stage was added. A previously abandoned high fly gallery was re-installed, which provides an additional full stage depth pin rail. Due to limited wing space, a second locking rail was added to the lower fly floor so that fly cues could be executed above the stage and the full stage area could be clear for scenery storage. Strong points were added to the roof structure in the auditorium attic space and cable sleeves were integrated into the restored ceiling so traveling shows can hang trusses when needed. A 100-amp company switch and network control wiring was added above the ceiling to provide power for chain hoists and control for potential lighting rigs. Lighting Lighting system upgrades were small in scale but provide a large impact on the operation of the existing system. The theatre had been using Entertainment Technologies portable distributed dimming equipment for their front of house dimming in conjunction with rental dimmers in the stage house on a per show basis for each production. This system worked for the users and they wanted to continue with a similar flexible front of house system, combined with rental dimmers on stage. The existing electrical infrastructure was kept and expanded. A second 400-amp company switch was added to the jump on stage left, allowing larger touring companies to hoist dimmer racks to this location, leaving the stage floor clear. A new Ethernet based lighting control network was added. The network interfaces with DMX wiring at previously existing lighting positions. A new architectural house lighting dimming system was added. It has its own control system and communicates via the new lighting control network allowing direct control from the house console or touring console using either Ethernet or DMX. Several new lighting positions were added; box booms at the second balcony, a front of house pipe was added to the back wall of the balcony providing a forty-five degree front light, and a low angle balcony rail was added to the front of the mezzanine. New electrical services and network wiring were run to each of the new lighting positions for a distributed dimming scenario. Two followspot positions were added above the vomitory entrances in the second balcony. Audio Speakers were added for the re-opened second balcony and under balcony fill speakers were used to augment the existing sound system. Stage lip speakers were added at the front of the stage to fill in below the existing main cluster. Stage audio monitoring was added for the new dressing rooms, offices, and public spaces. Audio paging to the lobbies was added, as well as video monitoring for latecomer audience and back of house technical areas. The existing intercom system was enhanced to include new house control and followspot positions. An FM assistive listening system was added as a part of the Americans with Disabilities Act upgrades. Two new house mix positions were created, one on the cross aisle and another at the rear of the orchestra seating level. A 200-amp audio power company switch was also added to provide additional isolated sound system power. Cable passes were installed to allow easy installation of temporary cable runs for touring shows and television productions using their own gear. Orchestra Pit Platforming In-Fill The front edge of the stage and the opening to the orchestra pit were re-shaped and a new orchestra pit platforming system was designed and installed. A custom lightweight platform system with minimal support structure replaced the previous homemade system that was heavy and difficult to move. The new system can be set at three different elevations: stage level, audience seating level or orchestra pit level. The new system can be installed or removed in half the time that was required for the previous system. Fall Protection To provide safe access to new lighting positions in the house and rigging locations on the stage, several types of fall protection systems were required. Fall protection systems were added at the grid, the box booms, balcony rails, and new front of house lighting positions. Drapery A new main house curtain, styled after the 1903 original, was added to enhance the beautifully restored paint and details of the auditorium. Also in the beaux-arts style, decorative painted fabric headers and swag curtains were added to the box seating areas as well as mohair fabric wrapping of the balustrades and balcony railings. FACT SHEET: THE TUFTE PERFORMANCE AND PRODUCTION CENTER The Semel Theater The Semel Theater is a 210-seat three-quarter thrust space. The 925 square foot stage is surrounded on three sides by raised fixed seating. The thrust portion of the stage consists of 650 square feet of a vertically adjustable platforming system in 3’ x 6’ sections. Platforms can be raised, lowered or removed individually or in groups. The platforms sit in a trap room twelve feet below the theater’s stage level allowing productions to use full escape stairs or stage elevators. An upper gallery level runs around the room above and behind the audience seating area and provides two full control booths and other technical space. Twenty-one feet above the theater floor is a 2500 square foot tension wire grid constructed in ten by ten foot modular panels. The tension wire grid provides a safe walking surface that also allows the placement of lighting, sound, rigging or other technical equipment virtually anywhere at that level of the room. Seven sandbag and hemp linesets are located in the upstage area allowing backgrounds to be changed. A full stage traveler curtain and other masking are also located in the upstage area. Pin rails are located at both sides of the stage and heavy-duty double channel unistrut is located over the entire theater area to hang chain motors or spot rigging on an as needed basis. Company switches are available on the gallery level for lighting, machinery, and isolated audio power. The lighting system is network controlled and contains 366 2.4Kw and 9 6.0Kw dimmers in four dimmer racks plus a 12-circuit relay panel for non-dimming loads. The lighting system controls stage lighting, house, work, running lights, and a cue light system. Network control nodes are located in all technical locations throughout the theater. They are individually programmable and each has four universes of DMX. Lighting network control nodes are also located in the TV control room five floors above, and on the truck dock several floors below for remote control when the theater is used for video recording or broadcast. An ETC Obsession II is the control console. An integrated architectural lighting control system functions along side the performance system and allows lighting preset recall for operation of lighting by a stage manager or single technician when full console function is not required. The sound, video and communication (SVC) systems provide the Semel Theater with sound reinforcement and sound effects playback, production video wiring infrastructure and technical backstage communications. The sound system features a digital mixing console, computer-based sound effects routing, playback and recording systems, and a complement of portable loudspeakers and subwoofers that can be located as required for various stage production needs. Other systems include assistive listening for the hearing impaired, audience recall, CCTV-type production video, CATV-type RF video distribution, latecomer video for lobby spaces, and show program monitoring and paging capabilities to backstage and dressing room areas. A dedicated signal wiring and patching infrastructure is provided around the theater, as well as tie-lines to the Greene Theater and the Central SVC Rack Room. Television camera positions are located within the theater with video, ISO communications and camera tie-lines that run up five floors to the TV Control and Rack Rooms. This allows video recording within the theater to be switched from either the TV Control Room above or from a truck located at the loading dock. The Kermit and Elinore Greene Theater The Kermit and Elinore Greene Theater is an end-stage style theater with 130 seats steeply raked above a 1000 square foot stage. An elevated gallery level surrounds the house and stage providing additional audience loge seating, a control booth and supplementary technical areas. A full pipe grid arranged on four-foot centers is located eighteen feet above the stage. Individual front of house pipes provide additional lighting positions over the audience area. The main front of house lighting pipe is accessed via a bosun’s chair riding on a beam trolley. A fall protection system is provided. The theater has a full drapery package including a main curtain, masking, blackout drop, scrims and a cyclorama. The network controlled lighting system consists of 234 2.4Kw and 3 6.0Kw dimmers in two and a half racks of dimmers plus a 6-circuit DMX controlled relay panel. The lighting system controls the stage lights, house, work, and running lights. Network control nodes are located in all technical areas. An Express 72/144 console running with an Emphasis server is the front-end console for this theater. An integrated architectural lighting control system functions along side the performance system and allows lighting preset recall for operation of lighting by a stage manager or single technician when full console function is not required. The sound, video and communication (SVC) systems provide sound reinforcement and playback, production video wiring infrastructure and technical backstage communications. The sound system features a digital mixing console, computer-based sound effects routing, playback and recording systems, and fixed left and right stereo loudspeaker arrays located above the stage platform. Other systems include assistive listening for the hearing impaired, audience recall, CCTV-type production video, CATV-type RF video distribution, latecomer video for lobby spaces, and show program monitoring and paging capabilities to backstage and dressing room areas. A dedicated signal wiring and patching infrastructure is provided around the theater, as well as tie-lines to the Semel Theater and the Central SVC Rack Room. The Greene Theater has company switches for additional lighting, machinery and isolated audio power. In addition to theater planning and theatrical systems, Auerbach•Glasow designed the architectural lighting for the Semel and Greene theaters. Television Studio A Television Studio A is a 41’ x 44’ space programmed for majors in the television field and is for actual broadcast. A full pipe grid on four-foot centers covers the room fourteen feet above the floor. A double curtain track surrounds the room allowing black fabric panels or a TV cyclorama to be used as a background. The studio also has a permanently installed pro-cyc to provide a seamless background. 96 performance lighting circuits are located in plugging strips above the grid and on the sidewalls, and DMX driven relays control non-dimmable loads. The control room has network lighting control inputs for both this studio and the Semel Theater to allow productions to be taped or broadcast from either or both spaces. A 400-amp company switch is available for additional power required within the studio. Television Studio B Television Studio B is a 28’ x 40’ studio space primarily for teaching television technology. Similar to studio A, a full pipe grid on four-foot centers covers the room fourteen feet above the floor and a double curtain track circles the room allowing black fabric panels or a TV cyclorama to be used as a background. 48 performance lighting circuits are located in plugging strips above the grid and on the sidewalls. The control console is on the studio network allowing Studio B to function as an additional stage for a large TV production. A 200-amp company switch is available for additional power required within the studio. Light Lab The Light Lab is a 400 square foot lighting classroom with a full pipe grid and a twenty-four dimmer lighting system. The dimmer rack is located in the classroom as a teaching tool as is a company switch to demonstrate tie-ins and operations of other types of touring dimmer racks. The control is a simple console with DMX direct to the dimmer rack.