Michael Mell to Light "Sam Clemens – Tales of Mark Twain"

After many years designing theaters, Theater Design President Michael Mell will return to his first love: designing lighting for Sam Clemens – Tales of Mark Twain performed by Joe Baer at the Actors Temple Theatre in NYC. Performances are on weekends beginning May 6 through June 25.

Today, Mark Twain is still revered by many as a leading American author, social critic and humorist. His work stands out as an outstanding achievement of authenticity, spattered with autobiographical elements and experiences from Twain’s childhood that paint vivid backdrops for each story told.

In this solo show, Joe Baer portrays Samuel Clemens near the end of his career, in a narrative and thought-provoking performance. He presents a nostalgic look back through time; starting from Twain’s rural roots in small town, Missouri, to his International acclaim. Context and words from the pen of Mark Twain are intertwined to reimagine this legend on the lecture circuit, highlighting the ebbs and flows of this iconic American figure’s life against a visual collage of historical imagery.

Joe Baer began his theatrical career in the 1970s backstage as an apprentice at the Metropolitan Opera (NYC). He worked on a variety of Broadway theaters and television shows to earn his Journeyman’s Union card, eventually landing the position of Assistant Electrician at Sesame Street and Head Electrician at the Ed Sullivan Theater.

Upon retiring in 2010, Joe moved his focus to the other side of the camera to fulfill a lifelong interest in solo shows. His most recent endeavor is Samuel Clemens: Tales of Mark Twain. This one-man show produced by Baerhands Theater and Television, Inc, is written and performed by Joe Baer with excerpts from the hand of Mark Twain.

What Do You Know About Seating and 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. 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.

Developing Your Historic Theater Renovation Plan

If a community is considering preserving and renovating a historic theater, the first thing to do is identify a leader for the project. This leader must be someone who has a high profile and is capable of galvanizing various constituencies in the community. This individual must also be able to direct the project and lead the fund raising campaign. Once this individual is named, the following points should be explored systematically to determine the feasibility of the project and its potential for success.

Determine the Historic Significance and Structural Integrity of the Theater – Does the theater have landmark status, architectural features and a performance history worth preserving? Are the interior and exterior of the building structurally sound? If not, what will it take to make them so?

Assess the Need – Does the community need this theater? Will it overlap or compliment other facilities in the community? Who will use it? Who will it serve? Will it enable the community to enhance cultural and community activities?

Determine Potential Users and Their Needs – Which organizations in the community might use the renovated theater: arts groups, educational and community organizations and presenters? Might national presenters be interested in using the facility for performances and events? What are the possible uses: plays and musicals, concerts, dance, opera, music, film, lectures, children’s productions, touring productions, community meetings? What are the lobby, house and stage needs: number of seats, rigging and stage lighting systems, lobby space, dressing rooms, storage needs, administration offices, etc. of the potential users?

Develop a Projected Program – Based upon the needs of potential users, develop a projected schedule of how the theater might be used for one year. The program should be developed to gain maximum use of the facility, because there are fixed operating costs that continue when the theater is not in use. Along with the program, a projected budget should be developed that includes facility operating costs.

Estimate the Cost of the Renovation – Based upon potential uses, determine the estimated cost to renovate the entire facility, including all interior work: the stage, all technical systems, backstage and work spaces, audience and front-of-house spaces, as well as: exterior façade, signage and landscaping.

Determine Fundraising Capability – Determine the ability of the community to raise the funds needed to finance the entire renovation and to establish an operating endowment. Identify major private donors, government and community funding resources, businesses and the feasibility to launch a special campaign to seek grass-roots support from as many individuals as possible within the community. Ideally, 50% of the total renovation costs should be committed before beginning the project.

With good leadership, a sold plan built upon careful examination of these points and a substantial portion of the funding in place a community is well-positioned to undertake the preservation and successful renovation of a historic theater.