PHILADELPHIA-Stagestep Flooring Solutions has introduced Super Timestep, its newest flooring innovation offering the flexibility of a marley-type floor combined with the enhanced durability and wear of Timestep. The multi-purpose studio and tour flooring is designed for all styles of dance, including tap.

The new EC-20 LED panel from Martin Professional

AARHUS, Denmark-The EC-20 is a new generation LED panel by Martin Professional designed to combine the image quality and precision of conventional high resolution screens with the creativity and low weight of mesh type screens. The EC-20 features a 20 mm pixel pitch and delivers 4,000 nits of brightness. Designed for rapid setup and teardown in combination with maximum flexibility, color and brightness is calibrated for each individual pixel for maximum image quality.

S. Leonard Auerbach

A Q&A with S. Leonard Auerbach, founder of theatre consulting firm Auerbach Pollock Friedlander.

One of the great things about the theatre is that the path that one’s career follows can be as rewarding and diverse as the productions and projects that it touches. S. Leonard Auerbach, Founding Principal of the theatre consulting firm Auerbach Pollock Friedlander, is a case in point.  His path began backstage, on the lighting crew, and then, as house manager for the original Off-Broadway company of The Fantasticks.  Hooked on theatre, he attended Carnegie Tech—now Carnegie Mellon—earning a degree in stage and lighting design and a graduate degree in theatre architecture.  From Pittsburgh, he moved to Minneapolis, where he became resident lighting designer for the Guthrie Theatre and in 1967, he became the in-house consultant for their first renovation. From there, he was recruited by BBN—an acoustics and theatre consulting firm—starting his consulting career in their New York office, and then, in San Francisco where he founded his own consulting practice in 1972

The myth—and necessity—of multi-tasking

While I was at the Seven Devils Playwrights Conference in McCall, Jeni Mahoney (the artistic director of the Conference) was also a participating in the Conference as a playwright with her piece Kandahar. At the meet-and-greet barbecue on the first day a community member presented Jeni with a hat. On one side of the hat was the word “Playwright,” on the other “Artistic Director.” Whichever side was facing forward determined the role she was playing at any given moment. It was a cute, but necessary, prop that helped everyone around Jeni know what headspace she was in, and what questions they could approach her with—but it also helped her, too. She was able to focus on one thing at a time, and externalize that choice. I imagine it helped cut down on a lot of “should”s—I should be doing this, I should be doing that. Instead, she was able to very clearly define what she should be doing. Now I’m a playwright. Now I’m the artistic director.