What Do You Know About Seating & Sightlines?

If you can’t see the performance, then what’s the point, right? I’m not talking about the fact that if you are seated on the extreme side of the auditorium, you will not see the near upstage corner of the stage. This is allowed for in the scenic design. I’m talking about some seats where you can’t see a significant portion of the action on stage. Some older spaces have obstructed view seats that are sold at a discount. There are many newer spaces where some audience members will not be able to see large portions of the stage. Why does this happen?

Balcony boxes, those seating areas located on the side walls of the auditorium stretching from the balcony toward the stage are my personal bete noir. Historically, these were preferred seats for those wishing to be seen rather than to see. History has repeated itself - - consciously or not - - in some premier venues. Attending a performance of the American Ballet Theatre at the Metropolitan Opera House in Lincoln Center I was seated in a balcony box and the only way to see more than half the stage was to tip my chair forward and lean onto the railing. It is arguable that an opera house is designed as a space to listen to music, but I would argue that if you can’t see, then you can’t hear.

All of the performing arts share the need for good sightlines, but some place constraints on the seating design. Dance, for example, requires the audience to see the dancers from head to toe, from downstage to upstage and side to side because, for the most part, dancers are in motion. A relatively steeper seating design will satisfy this requirement. For a symphony orchestra, on the other hand, one is not so concerned with seeing the toes of the first violinist, but about what percentage of the audience members (who absorb sound energy) will be exposed to the stage and how this may impact room acoustics. These venues typically see a shallower seating design.

Another consideration, and often a primary one, is economics. For a venue to be financially viable (or as close to it as is possible in the US) a higher seat count is preferable. 2,000 to 3,000 and up to 5,000 or 10,000 seats depending upon the venue type. Many performance venues are intended to accommodate all types of performances: theater, musical theater, opera, dance, symphony concerts, jazz, rock ‘n roll, etc. Incorporating seating and sightlines that will satisfy the sometimes diametrically opposed requirements of different performing arts is a key design challenge.

• Add to that: the design of the structural, mechanical and electrical systems.

• Add to that: the code requirements for egress, fire protection and the Americans with Disabilities Act.

• Add to that any other unique aspects of a design that inevitably come up and you have an intricate puzzle to be solved by the architect, theater consultant and design team.

• And add to that . . .

Who You Gonna Call?

Perhaps one of the most useful and reassuring things I’ve learned over the years is that it’s not so important to know everything, but more important to know who may know what you don’t.

My first consulting job, when I was very wet behind the ears, was with a small theater consulting firm. The partners had a wealth of experience and expertise between them, and we had a number of large-scale projects with preeminent architects. At design meetings, they were uniformly kind to the new kid, but I remained very intimidated and in awe of the firms’ partners who interacted so easily and seemed able to answer all the questions that arose and to resolve the issues that arise during the design of a theater. Over time I realized that the partners often as not did not answer all the questions or resolve all the issues at the meeting but deferred their response. What did they do upon returning to the office? They called someone: a lighting rep, a rigging contractor, a structural engineer or whoever could provide the needed information.

How could they not know? Shouldn’t a professional know everything about everything in their field? Did my idols have feet of clay? At that time, I suffered the cardinal sin of all young people: the assurance and confidence that I knew everything about everything. The confidence and arrogance this brings can be a useful trait until life slaps you in the face and throws you on your butt to let you know that you don’t and that you’re not even close. Many years later, and with a very callused posterior, I take a more understanding attitude to my former bosses and allow myself the slack I was unable to give them.

In the years since then, I have gained a different sense of confidence, and hopefully not arrogance. I know many more things than I did, but also know more of what I do not, and I no longer look at this as a personal failing. If I don’t have an answer or immediately know how to resolve a problem or how best to evaluate/approach something, there are many people I can call. Some will be able to answer a specific question and others to knock things around. Who can help and in what fashion is variable: these folks are not slotted into fixed categories. I may call some on a regular basis and others infrequently. Many times, the initial question is answered, but other unanticipated issue(s) arise. Sometimes, there’s no good answer: only a choice between the lesser of two evils. I’ve come to realize that sorting these outcomes is what being a professional is really all about.

We are meeting new people all the time, so make friends with everyone you can because you never know and, of course, because it’s a nice thing for you and them. Friends, colleagues, business associates, acquaintances, someone you’ve met at a party are all valuable resources to be acknowledged and cultivated because you never know who you’re gonna need to call.

Words of Wisdom

Most of us have been fortunate in our professional lives to have had someone who took us under their wing. These people are variously known as ‘mentor,’ ‘teacher’ or ‘rabbi’ but I think of mine as a ‘friend’ in the purest sense of the word - - someone who cares about you.  They guide us, support us, encourage us, nudge us, annoy us, look out for us, tell us what we don’t want to hear and are always willing and available to help. They do this naturally, without thinking - - it is simply part of their nature.

My friend was Sonny Sonnenfeld who passed away recently, after many years in the architectural and stage lighting business. If you have attended any industry convention over the past 50 years, you have certainly seen him. Thirty-five years ago Sonny visited Brannigan Lorelli Associates where I had accepted a position after a few frustrating years of trying to support myself as a lighting designer. He brought bagels and coffee (his trademark) and immediately introduced himself.  Within a few minutes we were talking as though we had known each other for years. Then the trouble started. He would come by the office with several legal pad sheets worth of handwritten notes for me.  I should visit so-and-so . . .  I should write an article for such-and-such a magazine . . .  I should read this article . . . I should take this or that class. Sheesh! I had a full-time job and was plenty busy - - how could I find time for this (even if I wanted?)  I am now older and (hopefully) wiser and am very glad that Sonny took the time to care about me. His friendship taught me things about life and theater consulting that I could never have learned elsewhere.

At one of several retirement parties (he retired many times, but always seemed to return) I received a surprise.  Attending were stage lighting designers, architectural lighting designers, theater consultants, engineers, manufacturers, salespeople, family and friends.  This was not the surprise. The ages ranged from early twenties to middle seventies.  This was not a surprise because I already knew that Sonny knew everyone in the business. What knocked me for a loop was when people were invited to the microphone to say a few words and they all had stories like mine!  I was so jealous - - I thought the special relationship we had was unique. After my turn at the mic, I realized that this was one of Sonny’s most special talents - - to make everyone feel like his personal friend. Richard Pilbrow (lighting designer and founder of Theatre Projects Consultants) told this story at the party. He didn’t know Sonny was a salesman for several months until one of his staff told him. Richard thought Sonny was just a friend of someone at the firm - - and so he was.

Aside from paying homage to Sonny, I believe his approach to working in the theater is relevant to all of us. Everyone must learn ‘how to get along.’ This life lesson is especially important for those who work with the public and supervise diverse staff - - remind you of someone you see in the mirror each morning? Many years ago Sonny published an article in Lighting & Sound America entitled, How I Got To Be A Retiree. In it he lists some things he would like to pass on. I will repeat them here.

§  Make friends with everyone that you can. The floor sweeper of today may be the Harold Prince or Julie Taymour of tomorrow.

§  Be positive and cheerful. No one likes to be with negative people. Be fun to be with.

§  Don’t say no to legitimate requests. Respond in a positive manner. Be a “yes” person, not a “no” person.

§  Be accurate, be complete, be on time.

§  Think and plan ahead. Prevent the fire, don’t put it out.

§  Be the one who makes things happen.

§  Learn to write – reports, proposals, articles and a resume.

§  Be neat in your work and your appearance.

§  Don’t ever gossip. If you can’t say something nice about a person don’t say anything.

§  Never argue or fight with a critic.

§  Learn to take constructive (or otherwise) criticism.

§  Don’t even think of making money on your expense account.

§  Remember names.

§  Be professional in all ways.

§  Don’t lie. If you make a mistake or mess up a job or whatever, admit it and learn from it. Move on.

§  Start early and work late.

§  Don’t be timid. Don’t be afraid of failing. Take a calculated risk if you believe. It is better to try and fail than to fail to try.

§  Do smell the roses. You go around only one time, make the most of it.

§  Get a life outside the theater.

§  Find a great spouse or significant other.

Without consciously being aware (Sonny taught the most important things without you even realizing) I find that I have been following this advice. In general, I have been successful.  For instance, I am writing this on a sunny Saturday afternoon when I could be outside.  On the other hand, taking criticism (constructive or otherwise) still needs a bit of work (Grrrr!) I hope you will find Sonny’s advice as useful as I have and that you will, in turn, pass it on to those you work with.  I still think of Sonny and miss having lunch (always his treat,) talking shop, talking life and hearing a new story.