Questions & explanations
1. Compare how a stage manager communicates with a corporate client versus with a theatre director. Give one key difference.
With a corporate client, the stage manager often uses simpler language and avoids theatre jargon, because the client may not be familiar with terms like 'fly system' or 'cue-to-cue'. In contrast, a theatre director understands technical terms and expects concise, professional communication. Another difference is that corporate clients may have multiple stakeholders (like marketing and HR) who all need updates, while a theatre director is usually the single creative authority. The stage manager must adapt their communication style to each audience. This flexibility helps prevent misunderstandings and builds trust.
2. Compare using a dedicated word clock generator versus using the internal clock of an audio interface.
A dedicated word clock generator provides a stable, low-jitter timing signal to all devices, which can improve audio quality in large setups. An audio interface's internal clock is usually fine for small systems, but in a studio with many devices, daisy-chaining word clock can introduce jitter. A master clock generator distributes a clean signal to every device, reducing timing errors. However, a high-quality interface may have a clock as good as a separate generator. The choice depends on the size of your system and your budget. For most home studios, the interface's internal clock is sufficient.
3. How do flying effects in Peter Pan differ from those in Wicked?
Peter Pan uses a simpler system with manual or counterweight control, while Wicked uses automated winches. In Peter Pan, the performer is usually lifted straight up or down, whereas in Wicked, the performer can move in complex paths like spirals. Wicked's system is computer-controlled for precision, while Peter Pan relies on stagehand skill. Both use harnesses, but Wicked's harnesses are more ergonomic and have more adjustment points. Safety standards have improved over time, so Wicked has more backup systems. The flying in Peter Pan is more iconic and simple, while Wicked's is more dynamic.
4. How does an underdressing affect the fit of the outer costume?
The underdressing adds bulk, so the outer costume must be slightly larger. If the base layer is thick, the outer costume may feel tight. The costume designer must account for the underdressing when taking measurements. For example, a dancer wearing a dance belt under tights needs tights that are one size larger. The underdressing also changes how fabric drapes; a smooth bodysuit under a silk dress helps the dress fall nicely. If the underdressing has seams, they might show through the outer costume. Therefore, the designer chooses base layers that are seamless or match the costume's needs.
5. Compare using a virtual prop in AR versus VR for a theater performance. What are the main differences?
In augmented reality (AR), the virtual prop is overlaid on the real world, so the audience sees both the real stage and the digital object through a screen or glasses. In virtual reality (VR), the audience is fully inside a digital world and cannot see the real stage. For theater, AR allows actors to interact with real sets and each other while digital props appear around them. VR requires the audience to wear headsets and isolates them from the live performance. AR is better for live theater because it keeps the human connection, while VR is more for immersive digital experiences.
6. Compare the insurance needs for a small community theater versus a large Broadway production. What is different?
A small community theater typically has lower-budget props and may only need a basic general liability policy that covers accidents. Their props are often borrowed or made cheaply, so replacement cost is low. A Broadway production uses expensive, custom-made props and has a higher risk of injury due to complex stunts. They need a comprehensive policy that includes property coverage for props, liability for actors and audience, and possibly workers' compensation. Broadway also requires higher coverage limits because lawsuits can be larger. The premium for Broadway is much higher.
7. What is a word clock in digital audio?
A word clock is a timing signal that keeps all digital audio devices synchronized so they sample audio at the same instant. Without it, devices may drift apart, causing clicks, pops, or distortion. The word clock ensures that each device's sample rate (the number of audio snapshots taken per second) matches exactly. For example, if two devices are set to 48 kHz, the word clock makes sure they both take their 48,000 samples at the same moments. A common way to distribute word clock is through a BNC cable. Many audio interfaces have a word clock input and output for this purpose.
8. What is site-specific theatre?
Site-specific theatre is a performance that takes place in a non-theatre location, like a warehouse, park, or historical building. The space itself becomes part of the story. Rigging for such shows must adapt to the existing structure, which may not have traditional fly systems. The rigging team must work with the venue's architecture, using beams, columns, or trees as anchor points. Safety is a challenge because the structure may not be rated for theatrical loads. Engineers may need to assess the building. The rigging must be temporary and removable without damaging the site.
9. You need to control four animatronic puppets from one remote. How would you set up the system so each puppet responds to different buttons?
Use a multi-channel remote control system, like a radio control (RC) transmitter and receiver with at least four channels. Each channel can send a separate signal. Connect each puppet's servo or motor to a different channel on the receiver. For example, channel 1 controls puppet A's arm, channel 2 controls puppet B's head, etc. Program a microcontroller to decode the signals if needed, or use a receiver that directly outputs servo pulses. Make sure each puppet has its own power supply. Label the remote buttons clearly so the operator knows which button controls which puppet.
10. What is bit depth in digital audio?
Bit depth is the number of bits used to represent each audio sample. More bits give more possible amplitude levels, which means finer detail in loudness. Common bit depths are 16-bit for CDs and 24-bit for professional recording. Higher bit depth reduces quantization noise, which is the small error between the actual analog signal and its digital representation. For example, 16-bit has 65,536 levels, while 24-bit has over 16 million levels. This directly affects the dynamic range, which is the difference between the quietest and loudest sounds the system can capture.
11. Compare a fixed budget with a cost-plus budget for a theatre project. Which is better for controlling costs?
A fixed budget sets a maximum price; the builder must finish for that amount or pay extra. This is good for cost control because the owner knows the limit. A cost-plus budget pays the builder for actual costs plus a fee; if costs rise, the owner pays more. Fixed budgets are safer for owners but may lead to lower quality if the builder cuts corners. Cost-plus allows flexibility but risks overspending. For a theatre, a fixed budget is often better because it forces careful planning. However, if the design is uncertain, cost-plus can avoid delays from change orders.
12. Why is scheduling important when building a theatre? Give an example of a scheduling conflict.
Scheduling ensures that trades work in the right order so that one doesn't block another. For example, if the plasterers start before the electricians run wires in the walls, the wires will be covered and need to be redone. This wastes time and money. A good schedule lists tasks in sequence: first foundation, then framing, then electrical and plumbing, then insulation, then drywall. The project manager checks progress daily. Delays in one trade can push back others, so the schedule must have some buffer time. Proper scheduling keeps the project moving smoothly.