West End Theatre Management Pty Ltd

& Theatre Technics

Theatre and Auditorium Designers

Capability Statement

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Contents

INTRODUCTION 3

A SHORT HISTORY OF THEATRE IN AUSTRALIA 4

BACKGROUND OF EXPERIENCE 5

THE “ON THE GROUND” - TEAM 7

THEATRE PROJECTS AND VENUES... 13

CONSULTANTS 21

GENERAL – AREAS OF EXPERTISE 21

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West End Theatre Management Pty Ltd. & Theatre Technics

Introduction

This is a profile of our companies experience and knowledge of the total design of Theatres and Auditoriums. Mr. Leonard Lee principal and Director of West End Theatre Management Pty Ltd & Theatre Technics, has had extensive experience as a theatre designer and director. He has created projects for many clients from design stage and construction and acted as principal supervisor during the construction stage. Working close to the client’s builder and project manager. Mr. Lee’s overseas experience in Germany where he developed his interest in theatre design and knowledge of the many necessary architectural nuances’, as applied to many of the great opera house and theatres of the world in order to obtain a total design understanding. Our company has the ability to create and develop the entire architectural and theatre design criteria and deliver the product to opening night. Our company has the best support professionals working as a complete team. Covering architectural design we are pleased to report that our company are negotiating to join forces with the internationally acclaimed firm of The Buchan Group/Architects. Our company principal in making this decision to team with The Buchan Group Architects as their principal choice for any major projects that eventuate from time to time both within Australia and Overseas. We believe that their ability to design creatively, with imagination and flexibility within theatre design plus a dedicated office of highly experienced staff formed our decision. However our company will always be pleased to have the opportunity of working with other architectural firms, in order to enhance the standard of theatre design in Australia. The service that we are offering is full theatre design in, acoustics, stage lighting and sound re-enforcement, specialist mechanical engineering, specialist electronics control, these are the main areas of specialists that are on the ground with us and, will work through the entire project with all other service consultants that are required for major projects. Mr Lee has up to date knowledge of many of the great theatres of the world including valuable contacts within the profession here in Australia and Overseas.

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A Short History of Theatre in Australia On the 4th June 1789, when a group of convicts performed The Recruiting Officer before a selected (though not necessarily discriminating) audience, theatre has been a part of Australian life. In the early days when the audiences pelted the performers if they disliked them, to today’s more genteel performances and, the establishment of subsidised theatre. In the early days, theatre was by no means regarded as a sacred art, where managers would present Shakespeare on Saturday and melodrama on Monday. Theatre really began when the impresario George Coppin tossed a coin to decide if he would go to America or Australia, Australia won. In 1842, he and his new bride an American actress, sailed from Liverpool on the Templar arriving in Sydney on 10th March 1843, 113 days later. He became the first of the great impresarios’. In the years to follow other giants of the commercial theatre evolved, George Ringold and James Cassius Williamson, Clem Dawe, Ken Brodiziak and Michael Edgley, great entrepreneurs of the Australian theatre. J.C. Williamson Theatres Ltd. Tivoli Circuit headed by David N Martin, Garnet Carrol, became the leaders of the theatre development in the 20th Century. They developed great theatres using technology which is still used today. The theatres were designed by designers primarily from England, however these great entrepreneurs because of their performance experience were able to inject necessary design features that were required to run a theatre technically and practically. An example of the acoustics of the older theatres was for performers to have the ability to project over a full orchestra in Music Theatre, Operetta and Opera without any sound reinforcement. Today all major opera houses of the world, still do not use sound reinforcement except for maybe special sound effects. Our company has the ability to create the best sound reverberation for a theatre in order to accommodate both styles. This is brought about by experience and knowledge of performers requirements be it singers, dancers, musicians or the spoken word. Many disciplines in the auditorium shape, size, wall and ceiling finishes have to be taken into consideration in the early days of planning. In recent years the development of regional theatres have problem areas that have been overlooked in the design stage e.g. front of house foyers, toilet facilities, restaurant layouts, entry points to theatre, forward thinking to foyers utilisation as display areas, corporate theatre, the list goes on. Let us not overlook anything and develop more theatres thinking of some of the old technologies and defiantly include the new technologies and build a theatre that works.

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Background of Experience

THEATRE AND AUDITORIUM DESIGN The company Theatre Techniques was approached by the Sydney Opera House Trust, in its first years by the General Manager Mr. Frank Barnes, who knew of Mr. Lees Company and his European experience in opera and his interest in acoustics, he was requested to look to improving the acoustic response in the orchestra pit. Being an opera singer also gave him a very strong understanding of the problems that singers have, should they not be able to hear the orchestra and feel the voice going out into the theatre without having to push the voice. The commission was taken up and a number of recommendations were made and instituted. The work did improved the acoustic response by approx 30%, however that was the best that could be achieved without major reconstruction of the orchestra pit. During his initial period in Germany from 1969 -1973 as an opera singer he took up a post and became a member of the production staff of the Stadts Oper in Stuttgart. During his period at the Stadts Oper Stuttgart, he worked with the famous opera director Gunner Rennett from the Stadts Oper, Munich. Herr Rennett arranged for Leonard to visit and spend a period of two months as a study tour in theatre design, at his house in Munich and the Vienna Stadts Opera. Over the last ten years he has made three special tours overseas to visit many of the major Theatres of the World, in order to keep up to date with new technologies and theatre design, especially in the fields of under stage technologies, lighting and, sound re-enforcement. America - Los Angeles, Las Vegas, New York, Canada - Toronto, to inspect the North York Performing Arts Complex. England - London, Birmingham, Leeds. France - Paris, Moulin Rouge, Lido, Paris Opera. Germany – Berlin, Berlin Opera, Friedrichstadt Palast (old East Berlin), Dresden, Düsseldorf, Frankfurt, Stuttgart, Munich, Beyreuth. Vienna – Vienna Stadts Oper, Volks Oper.

In 1979 he formed the company Theatre Technics, in Sydney, with Henri Teris, an architect whom he had worked with in West Germany. The company Theatre Technics, operated as theatre designer and consultant with clients drawn mainly within the club industry

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Since 1979, Leonard has become a respected theatre designer and production consultant in Australia. his theatre design company has completed projects incorporating full architectural design and specification of all technical aspects of an International standard theatre design, i.e.

Stage Lighting & Sound re-enforcement

Counterweight Systems,

Sprung Floors,

Curtaining,

Stage Elevators complete with Stage Sliders. ( When elevator is down, a stage floor slides into position to cover floor opening).

Stage Revolves

Modular Stage – Scenery tracking system.

Elevators.

Design of Multi- Directional Gantries,

Acoustics (for live theatre, orchestral, vocal).

Currently he is the designer for the Pacific Theatre Complex to be built on Queensland’s Gold Coast, which will be rated third most technologically designed theatre internationally.

As a production consultant he specializes in, “Opera” “Broadway Musicals” “Cabaret” and “Concert Productions”.

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The “On The Ground” - Team

Leonard Lee – Theatre and Auditorium Designer Studied singing at the Sydney Conservatorium of Music: under the direction of Madam Marrian Mathy, London: Madam Eugine Triguez. Vienna: Professor Heinrich Gabriel

An artist of extreme versatility, he has appeared with all major professional

managements in both Sydney and Melbourne. In Musical Comedy with J. C.

Williamson Theatres Ltd, Tivoli Circuits and the Elizabethan Theatre Trust

Opera Company.

T.V. Drama Series / Films …Appeared with Jon Weaving, Suzzane Steel and

Valerie Hanlon in ABC Television Series “World of Song”.

A regular guest on “In Melbourne To-Night” with Graeme Kennedy,

“The Don Lane Show” and the “Mike Walsh Show”, “Homicide”, “Consider

Your Verdict”, “The Strangers”, “The Outcasts”, “Jonny Belinda”, ”A Shadow

of a Grey Horse”, “Whiplash”, “The Summer of the Seventeenth Doll”, to

name a few.

A member of the Stadts Opera, Stuttgart, Production Staff , working on all

major operatic repertoires. It was here that he became interested in Theatre

Design and, teamed up with a Lithuanian architect Henri Teris and jointly

designed a cabaret room for the American Officers Club at Robertson

Barracks, Stuttgart, West Germany. On Leonards return to Australia, a couple

of years later he accidentally met Henri Teris in Sydney who had immigrated

to Australia. They both teemed up later and formed Theatre Technics.

On returning to Australia he has appeared in many productions as leading

man and as director. Audiences will remember Leonard Lee for his rich

vibrant voice as principal baritone with the Operetta Theatre Company of

Sydney’s productions of…“A Night with Sigmund Romberg” and as Steve

Bullnack, singing “They Call the Wind Maria”, from Lerner and Loewe’s “Paint

Your Wagon”. A very learned Professor Higgins in “My Fair Lady”, and a

poignant Tevye in “Fiddler on the Roof”.

During his career he has directed many full stage productions of Musical

Comedy, Operetta and Opera. Leonard formed West End Theatre

Management Pty Ltd as a Production and Theatre Design Company in

Queensland and has worked on the design of a number of prominent projects

in Queensland and NSW.

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ROSS PALMER CPEng RPEQ - Principal / Director Qualifications: Bachelor of Engineering (Mechanical), University of Canterbury, 1979 Personal Profile: Ross is a practicing Consulting Engineer and Principal to Palmer Acoustics (Australia) Pty Ltd. He has extensive practical, professional experience in noise control engineering and is a registered engineer capable of design solutions or certifying compliance. His experience extends over a diverse range of acoustic challenges and he is known for innovative and cost effective acoustic solutions.

Starting from a registered capital of $10,000 in 1991, Ross Palmer

established Palmer Acoustics (Australia) Pty Ltd. At that time, the vision

Ross had for the company was to establish Palmer Acoustics as the

preferred supplier of acoustic services to the South East Asian market.

Palmer Acoustics expanded rapidly and within 10 years had gained

recognition from clients as a leading consultant with a reputation as a

professional acoustic consulting services specializing in building and

environmental projects. Today, Palmer Acoustics is active in Australia,

Thailand, Singapore, Vietnam, and Dubai, with offices in Brisbane and

Bangkok.

Palmer Acoustics continues to focus on providing comprehensive and

integrated acoustic services, consulting from feasibility studies to final

commissioning. In every stage this company adopts a practical engineering-

based approach to acoustical problems and through intensive design and

analysis achieves cost effective solutions.

Palmer Acoustics has been commissioned on projects in Australia, New

Zealand, Malaysia, Thailand, Hong Kong, China, Saudi Arabia, Papua New

Guinea, Fiji, and United Arab Emirates.

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Anthony Lee - Lighting Designer

Anthony’s interest in stage lighting began many years ago in his youth, touring with the Operetta Theatre Company in Sydney under the direction of an international lighting designer Richard MacGillycuddy. With 16 years experience in the production lighting industry he has worked with various Australian production companies including, Queensland Performing Arts, Chameleon Touring Systems and PRG L.A. Anthony has been involved with a variety of productions from musical theatre, dance, concert and corporate theatre. Productions including, A Moment in Time with Marina Prior and Tommy Tyco, The Ten Tenors, Man of La Mancha, Oklahoma and Fiddler on the Roof, and most recently Kate Miller Heidke and Delta Goodrem. In 2005 to 08 he travelled to Tokyo - Japan as head lighting designer / programmer for the international artist “The Gypsy Kings”. In 2006 / 2010 he toured with the Doobie Brothers as head lighting designer/programmer on their Australian tour. Anthony’s ability to create an atmosphere and to build on what director’s are looking for is greatly respected. Anthony is able to create unique moods, atmosphere and effects envisioned by director/client. Currently use Martin Show Design software suit (3d visualizer) to Plan / Design and Pre- Program most Productions, this saves time and money on the production budget. Anthony’s complete confidence in his ability to have the hands on approach with production management and his experience in fields such as Budgeting, Equipment, Labour and Logistics. The ability to demonstrate a preview of the production with realistic 3-D lighting simulations and to create realistic set and lighting design renderings using reflection, transparency, shadow and smoke. This allows preview and visualization of the project. Skills & Knowledge

- Vari*Lite S300 System Technician.

- 3D Set and Lighting Design (Martin Show Designer).

- 3D off line Pre- Programming (via Martin Show Designer).

- Auto Cad Drafting / Quick Cad Drafting.

- Adapting same design to various venues.

- System Design ‘Vari*Lite (300 series).

- Touring System Design.

- Crew Management.

- Advanced Riggers Ticket.

Extensive experience on all major professional lighting consoles, generic and intelligent luminaries, and dimming equipment including cabling requirements. (Note: See full Resume Details including all production experience).

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Mr. Wayne Grosser - Sound Reinforcement. Wayne has over twenty five years experience as an event Producer,Sound Engineer and Designer. Wayne spent some eighteen years in Hong Kong where he built up International Sound & Light to be one of the leading AV event production houses in Asia. His development of the company International Sound & Light in Australia is an affiliate of International Sound & Light Productions, a premiere event production company that has built its reputation by producing some of the largest conferences and entertainment events throughout Australia and South East Asia. International Sound & Light has produced events for corporate clients including Microsoft, Woolworth’s, and General Motors - Holden, Domino’s Pizza and Dior as well as concert shows for artists such as Tom Jones, Whitney Houston, Jimmy Barnes and many more. His ability as a sound engineer in the in the sound re-enforcement of symphony and smaller orchestras has extended his profile as one of the most experienced in Australia and South East Asia. ISL Systems has a longstanding relationship with many equipment manufacturers and distributors. As a systems integrator ISL Systems works closely with Clair Brothers Audio Systems of Pennsylvania, USA, one of the world’s leading systems integrators.

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Keith Robinson Building Design His principle objective is to capture the vision of his client and see it successfully incorporated into an effective, workable design that will be both functional and easy to live in as well as budget sensitive at the same time. This core principle underlies all projects whether they are for newly proposed dwellings or for the renovation of an existing dwelling.

Structural Designer and Detailer Keith has been employed in Structural Steel design and detailing for approx. 25 years and has enjoyed a variety of working experiences in which to express his gift. Keith was contracted to Queensland Rail for 10 years as a special projects designer/detailer relating to workstation design amongst other things. We (RDS) are currently actively engaged in several shop detailing projects which have also incorporated tilt panel detailing. We (RDS) entertain the philosophy of 3D modeling for most projects for improved accuracy especially in today’s architecturally challenging projects. We (RDS) have been privileged to assist in simple cost effective workstation design that ensures safety for the employee as well as providing effective concepts to ensure time effective operating environment. We (RDS) have had extensive experience in evaluating the risk that a ladder platform or stairs may present in light of AS1657 on a variety of structures and building.

Theatre Design Set Out Consultant Keith has recently been engaged on several occasions by Mr. Leonard Lee of West End Theatre Management Pty Ltd. to assist them with their theatre design, setout and presentations. His experience in both the building design and mechanical/structural design philosophies combines too wonderfully to ensure the blending of both philosophies under one roof. This with his extensive experience in walkways, ladders & platforms as described in AS 1657 further enhances his value in theatre design from a very practical

perspective. For such purposes as above stage and front of house lighting working stations, with the necessary access ladders and platforms which form a critical part of every theatre creation. With 10 years experience in the workstation environment, his skills can also be utilised in staging workstations’ such as trap doors, elevating platforms and suspended load frames.

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Les Brough – Scenic Artist – Set Designer Les Brough, joined our team of West End Theatre Management Pty Ltd & Theatre Technics some years ago as a seasoned Scenic Artist, Sign Craftsman and Pictorial Artist. He began in the industry over 40 years ago and has worked and studied all art disciplines. During a two year study tour of Europe and Great Britain he was able to see all the great works and study from many great Contemporary and Classical artists. For a number years he was the art director for the production company known as “Allset”, in Brisbane. Here he worked on major events e.g. Warana Festival, Brisbane River Festival, Theatre, Television Commercials, and Movie Sets, to mention a few. His expertise is second to none as a Scenic Artist, specialising in Faux Art paint finishes, Wood graining, Marbling, and Triompe Loiel. Les will be highly involved in all stage sets for the Pacific Theatre Complex, involved in the fabrication and finishing of all Corporate Displays and Themeing designs for venues. His experience gives him and us a strong edge to insure that the job is installed efficiently and professionally and, on time. We are extremely fortunate to have this man on our production and design team.

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Theatre projects and Venues...

Sydney Opera House The company Theatre Techniques was approached by the Sydney Opera House Trust, in its first years by the General Manager IMr. Frank Barnes, who knew of Mr. Lees Company and his European experience in opera and his interest in acoustics, he was requested to look to improving the acoustic response in the orchestra pit. Being an opera singer also gave him a very strong understanding of the problems that singers have, should they not be able to hear the orchestra and feel the voice going out into the theatre without having to push the voice. The commission was taken up and a number of recommendations were made and instituted. The work did improved the acoustic response by approx 30%, however that was the best that could be achieved without major reconstruction of the orchestra pit.

Seagulls Leagues Club, Tweed Heads, New South Wales (1600 seats).

Currently the largest Lyric and Tiered theatre in the Southern Hemisphere, of its type. Brief was to design a venue that could

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present all the large Broadway style musicals, ballet, and feature a full symphony orchestra on the stage. The ceiling was especially designed for the best acoustic response for singers in a 1600 seat auditorium. The front of house lighting catwalk areas have been designed to allow people to be flown from the ceiling to the main stage for special effects also a circus trapeze rig could be installed. Features a full counterweight system totalling 54 lines, fully sprung stage floor, orchestra pit (38 players), plus many other technical details appertaining to the acoustics of the auditorium. This project was fully designed architecturally for the client. Project completed under budget.

Pacific Theatre Complex, Southport, Queensland.(Construction to begin in 2011) International Showroom,1600 seats, plus 2 other theatres of 360 seats & 450 seats. This project has been rated by our peers as possibly the third most technologically designed theatre complex internationally. The stage will be able to accommodate any of the large musicals or operas currently within the international theatrical repertoire. It has the capabilities to stage the entire “Das Ring des Nibelungen”. by Richard Wagner The main theatre is designed in three angled tiers, of which the two front tiers (32m x 8.5m) are built on hydraulic rams that allows them to be lowered forming a fully tiered auditorium. Other features is three on stage elevators (12m X 2.5m) That lower to the under stage area (7m below). When elevator drops below the stage level and all scenery is clear, the stage sliders close over the opening to allow production to continue safely. There is a special multi-directional two way gantry, which can accommodate a full sized jet ranger helicopter to fly out from a special opening 10m above the stage to the left and right sides and land on the stage, take off and exit on the other side of the stage (a

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first of its kind internationally). Naturally this mechanism can be utilized for a plethora of different uses production wise. The stage is fully rigged with all the normal stage machinery e.g. counterweight system, rigging for stage lighting and drapery, cyclorama, star rig, intermediate curtains, sound reinforcement, standard orchestra pit (45 players, extended 95 players).This is a theatre complex surpassing technology in any major theatre or complex in Australia.

Charters Towers Entertainment Complex – (800 seats) This project required us to provide to the Heritage a detailed brief as to our approach to the complete Restoration of the Heritage listed Bank of Commerce, built in 1887. On study of our documentation permission was given for us to commence. Another project fully designed architecturally and fitted out as a Lyric Theatre, complete with full counterweight system, sprung stage floor, orchestra pit, a fully integrated stage lighting system on stage and front of house, sound re-enforcement system. A twin cinema was designed and detailed specification of all cinematic equipment was provided and installed. Our brief also required that a restaurant be designed and fitted out adjacent to the theatre. The architectural design of the theatre foyer was designed as was the theatres external walls to join the theatre to the bank, maintaining the style of the period in which the bank was originally designed. This project was designed in conjunction with the architectural firm GTG Partnership.

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Blacktown Workers Club, Blacktown, N.S.W. (1000 seats)

For this project our company received, 2 Mo Awards. It was an interesting exercise in as much as we were engaged after the project stood dormant for over 2 years due to the clubs lack of funds to complete. The builders who provided the club with a design & construct contract were unable to create the necessary geometry to facilitate an acoustic response for the auditorium, due to the fact that the auditoriums stage was designed by the architect and placed in the corner of the auditorium space which was quite large. Our company took over from the architect and interior designers to create a unique ceiling design and create the auditorium to work as a theatre. A complete winching system was designed for all lighting and drapery trusses. Detailed specifications were written for all technical equipment i.e. lighting & control gear, sound re-enforcement equipment, drapery.

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Tivoli Theatre – Brisbane Our company completed a complete upgrade of this wonderful Arte Deco Theatre in 2002. The stage floor was completely resurfaced removing many irregularities making the floor absolutely smooth and not causing any problems for dancers. A 2meter apron was added to the front of the stage together with special tracking facilities under the stage for the storage of tables when not in use plus other equipment. All counterweight head pullies were replaced with the correct type of rope for this equipment. All sound reticulation cable was replaced together with new front of house lighting cables. Two front of house lighting catwalks were installed enabling the illumination of the stage apron area and the entire auditorium. New perch lighting positions on both stage left and right were installed. A new electric transformer was also installed to specifications, to accommodate the increase in power supply to the theatre. A special sound and lighting control area was constructed at the rear of the theatre and on the gallery level. The floor of the auditorium from the edge of stage had new parquet flooring laid as a dance area for guests.

Kuala Lumper – “International Showroom”.

This project was won from among many International expressions of interest. A tiered auditorium, with theatre style seating for 1300 people and 900 banquet seating. The stage featured all the technical facilities as that of a Lyric Theatre… counterweight system, stage lighting, drapery, cyclorama, star rig, sprung stage, special under stage construction to facilitate stage traps, orchestra pit, acoustic

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design for auditorium ceilings and walls.

Open Air Theatre Complex – Gold Coast City Council. A commission from the Gold Coast City Council to design an Open Air Theatre Complex for the Bruce Bishop Car Park – Parkland, Surfers Paradise. The design was to have the ability to present a full symphony orchestra (107 players) upon the stage including principal singers, chorus and dancers. We extended the brief to create a complete cabaret stage up stage from the proscenium entrance to seat an audience of 480 people. A modular stage was created to be positioned just up stage of the main curtain line (5mtr x 6mtr). The stage was able to be enclosed by specially designed enclosure panels that were installed within minutes, closing off the entire stage to the elements and riff raff, thus protecting all technical equipment and closing off all access to the above stage area and onto the overhead cantilevered covering for the forestage and orchestra pit. The entire complex was designed to house major on stage and forestage lighting equipment and cabling. The canopy lighting rig which covered the forestage and orchestra pit from above was also fully enclosed by specially designed hinged covers to prevent salt air access to lighting equipment together with special winching equipment which was housed in the cantilevered awning. This open air stage was designed utilizing lightweight construction materials, had a fully sprung stage floor and was also designed to withstand major cyclonic conditions. Another feature to the design was the fully retractable shade cloth material that had the ability to be rolled out approx 16 mtrs above the external parameters of the main structure and extend out above the audience giving rain free area to approx, 2500 audience. The particular material used in the shade cloth, at night allows the audience to look up and see the stars; the material becomes transparent and waterproof.

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The area for the construction would have sat an audience approx 6000 people under the stars. The commission required an acoustic report indicating traffic and background noise plus a separate report of the expected DB for the venue in concert mode. This Open Air Theatre Design would far exceed performance and design parameters of any other similar complex in Australia.

Campbelltown RSL, Campbelltown. New South Wales.( 600 seats ) This venue required a full proscenium stage for production shows. All rigging was as per a winch system for stage lighting and drapery, sound reinforcement speakers were built into proscenium arch centre, left, & right, stage floor was fully sprung.

Hornsby RSL, New South Wales.( 450 seats ) This boutique theatre required the same specifications as the Campbelltown R.S.L.

Mueller Performing Arts Centre. (800 seats) Mueller College, a Christian School required an auditorium that could be multi-functional and acoustically resilient for school performances for voice and orchestra. Also with the ability to house scenic equipment and stage props, the stage was fully designed with a grid system, winching system for all stage drapery and lighting, complete with a special lighting catwalk up stage and above the proscenium. Detailed specification loadings of lighting trusses on stage. The stage apron was designed with a radius as requested by the client. The front of house lighting was designed to facilitate a full inter-grated cat walk system and auditorium illumination positions for ease of lighting maintenance. The auditorium has a perch lighting position on both sides of the auditorium. All stage lighting was detailed to international suspension requirements and safety. The stage floor was designed to accept springing should the school require it. A full seating plan was presented to accommodate approx 800 seats. The seating plan also included a raked area of floor towards the rear of auditorium. A number of serviced rooms and areas were also included in the design. This school auditorium is now regarded as the best in Queensland and possibly Australia.

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Harvest Rain Theatre Company We were commissioned to provide an upgrade to this excellent Pro-am Theatre Companies theatre in New Farm. A complete rebuilding of the stage was required and re-surfaced. A lighting cat walk was built on the up stage side of the proscenium. Re positioning of all the on stage and front of house lighting, including perch lighting was installed. Also a redesign of the auditorium seating was completed so as to enable the company to present Theatre performances in the half or full round (down stage of the proscenium in the audience). This was a venue that seated approx 300 people.

Designer of many stage sets for the Operetta Theatre Company of Sydney’s national touring productions of Opera, Operetta and Musicals including Music Hall Productions.

Plus many other Auditoria designs for Schools, Churches and Corporate presentations.

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Consultants

WETM works closely with project architects and prepares all documentation and briefs for relevant consultants working on project. e.g. electrical, hydraulic, structural, acoustic, interior design. Leonard has also offered a service as a commercial, industrial, and external environmental lighting designer and has serviced up until about 1998 consulting electrical engineers e.g. Lincoln Scott, Norman Disney & Young, Bassetts to mention a few. He also consulted the majority of major architectural firms in Brisbane and Sydney.

General – Areas Of Expertise

Stage Lighting

Detailed specifications are made for all technical equipment for the project e.g. selecting all stage luminaries and lighting control, including full cabling diagrams for stage and auditoria (FOH Lighting positions). Two special features of the main auditorium lighting will be 3 large crystal chandeliers that will retract into the ceiling space of the auditorium when the auditorium darkens at Showtime. The second lighting feature is a special stained glass ceiling luminare 10mtr x 2.5mtr wide but shaped like the underside of Viking Galleon. As auditorium lights dim at the beginning of performance, the luminare fades to blackout and descends 2mtr below the ceiling line and becomes a FOH follow spot lighting position. Sound Re-enforcement

Detailed specification for all sound re-enforcement equipment for the auditoriums, public spaces, dressing rooms, work areas such as rehearsal rooms, green rooms, service areas, loading docks, retirement rooms and other external spaces. Drapery

Detailed specification for all stage drapery and drapery that may be required for auditorium & public areas.

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Counterweight System

Detailed specifications for the construction and installation of entire system including all lighting trusses and drapery bars. A detailed design of main wall construction will be presented to structural engineers. Sprung Stage Floor Construction

A detailed specification of the correct method of constructing the stage floor together with specific details as to under stage construction of all bearers and joists plus stage cladding. WETM has the experience to provide correct stage springing characteristics for any live theatre or dance specific performances. Stage Revolve

Stage revolve inserted into main stage. Main drive shafts directed to computer controlled motor designed to be programmed to stop within exact desired position, with emergency manual winch control at prompt corner, should a power failure occur.

Modular stage revolve. This revolve is broken up into modular sections and assembled when required. This technique requires a full modular stage to be assembled upon the main stage. Modular Stage – Scenery tracking system

A special stage built upon the main stage. This system allows scenery to be built in the wings of the theatre and can be moved to various parts of stage in front of audience and, requires no manual involvement, all scenic movement is controlled electronically from the stage managers console. Under Stage Areas

This area will be designed to offer theatre directors the greatest flexibility so as to enhance the broadest concepts of staging. Specifically stage trapping (bringing performers or stage equipment or scenery to the stage during performance).The area will be designed to accommodate correctly areas for scenery storage, and service workshops etc. Orchestra Pit & Elevators

An area rarely designed correctly. This very important area requires sensitivity and feeling towards the players that will be using it. A detailed specification on materials that will be used in construction will be provided together with a full power layout (GPO’s) that will enhance and not hinder players.

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WETM and their associates can also design for installation of an orchestral elevator for the raising of the orchestral floor to the stage level. Auditorium Seating

A detailed specification of all auditorium seating and placement including all finished fabrics to enhance visual and acoustic requirements. Auditorium, Wall & Ceiling Geometry

We will prepare for the architect a detailed design of the auditoriums wall and ceiling construction including finishes. This is a most important area as it assists with the ability to provide the desired acoustic response time for the various performances that will take place e.g. symphony orchestra, music theatre, drama, spoken word etc. Above Auditorium Ceiling

Detailed design of all winching equipment required for the manipulation of trussing as per requirement of touring shows and productions. An integrated system of power reticulation for auditorium lighting which can be changed from time to time depending on style of production being presented. Integrated FOH & On Stage Catwalk Systems

Detailed Front of house catwalk layouts for lighting and flying systems to cover all areas of the Stage apron area and up stage of proscenium arch, also to cover auditorium for special production requirements. All railings to be designed and specified to accommodate all relevant standards as are mandatory for that countries authorities requirements

On stage catwalks to cover proscenium arch lighting. Prompt and OP counterweight loading platforms and Grid, including crossover sections. Specified to comply with all local authority requirements.

Because of the unique and complex loads that involve this particular part of the building it is possible to incorporate the design of the flying systems and also reduce the structural weight of this area by observing particular guidelines in fly-tower structural design. WETM and their associates appreciate every aspect of this portion of theatre design and have provided effective and appropriate structures to meet each projects peculiar requirements.

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Please Note :- West End Theatre Management Pty Ltd were able to advise, for one of the above mentioned projects, that the presented structural steel design for the fly tower and associated steelwork were inappropriate. WETM therefore undertook an independent study which confirmed their findings and thus were able to provide an alternative methodology which saved the client of that project significant savings through more appropriate material sizings.

West End Theatre Management Pty Ltd and our associate company, Theatre Technics, over the years can boast that we work to a budget and will move hell and high water to maintain a budget without jeopardizing the project by way of unsafe practices or taking shortcuts in order to finish a job.