8 + 1 Questions For Ginny Bentley

March 17th, 2009

Editors note: Ginny Bentley is the Curtain Guru for Limelight Productions. With 25 years of curtain-making experience, she has just about seen it all. Originally working out of Limelight’s first Massachusetts facility, Ginny now fabricates curtains out of a second facility that she manages in Florida. This month we take a few minutes to ask Ginny to look back over her time in the “biz” and find out a little about what makes her tic. Feel free to ask Ginny your questions about stage curtains or leave her a comment.

How long have you been making stage curtains?

I started working for Limelight in April 1984. Bill Beautyman (President/owner of  Limelight Productions) actually trained me. I can’t believe it’s been 25 years. Before coming to work for Limelight I worked in a ladies sportswear factory. It was a small operation in Lenoxdale. Like Limelight it was a great place to work with great people and I’ve learned so much from both places. In between I worked in a shop making bags. Thankfully I found something more rewarding at Limelight. I feel so fortunate to have a man like Bill Beautyman to work for. He is honest and hardworking and expects the same from his employees. He is really more of a friend to me than an employer. I wouldn’t be able to say I’ve been making curtains for 25 years if he wasn’t the person he is. I started sewing when I was 10 years old with my first Home Economics class in 5th grade. My first project was an apron. Pretty big change from that to theatre curtains.

What was the biggest curtain you ever made?

For the Mullins Center at UMass Amherst. I think they were 56′ high. I can’t remember the exact finished width but it was a huge job, well over 100’ wide, with many curtains – enough to make a completely masked “proscenium” theatre in the center of a 7,000 seat sports arena.  They were the tallest curtains I’ve made, but combined yardage-wise there are others that rank right up there with the UMass project.  The new EMPAC at RPI, ’62 Center at Williams College and the University of Phoenix were also quite large to name just a few of the larger jobs.

What was the smallest?

I’ve made some pretty small ones but I don’t think I can come up with an actual size of the smallest. If I had to guess I would say 7′ high by 6′ wide for a main drape would probably be about the smallest for a stage curtain. I’ve made other types of curtains for theatre that were smaller. A customer wanted a scrim for a window and that was only about 3′ by 4′.

What was the most unusual project you ever completed?

Not having a theatre background when I came to Limelight I used to think that just about everything was unusual, but I think I’ve gotten very used to the phrase “Well, this is theatre” and now nothing seems strange or unusual. But last year I got a request from a friend of Cindy’s to make a replacement for an old (1700’s) sack bed. They had recently had one made that didn’t hold up to the weight of a small woman just sitting on the bed. The grommets pulled right out of the canvas and the canvas ripped at the grommet hole. Of course I didn’t want the same thing to happen to the one I was making so I had to test it. This is where the unusual comes in. I took the seat off my granddaughter’s swing set and hooked my test piece to the chain that holds the seat on, then I stood on the canvas and jumped on it. Just standing on it, it held up fine but when I jumped, it ripped out the grommet and I knew I had to put in some reinforcement. The second test piece did much better. Then I put it to the ultimate test, I had my husband jump on it. Being a “little” bit bigger than the average female (he’s about 200 lbs) I figured if it didn’t rip under his weight I was good to go. (He is such a big help to me, so much more than just lifting boxes to the back of a semi when I’m shipping finished curtains.) The test piece held up great and the customer was thrilled that I went to such lengths to make sure it would work for her.

What is the oddest or most challenging material that you have ever had  to work with?

When I made my first scrim I thought it was awful stuff to work with. But now hundreds of scrims later I don’t think it’s hard at all. That first one though was challenging.

Where would we be surprised to find curtains by Limelight in use?

I would not be surprised to find them anywhere, we have made curtains for so many venues that I can’t count them all and for just as many different types of uses. I have made quite a few for families that have a theatre room in their home and want it to have an authentic theatre feel. I would not be surprised no matter where they showed up. We’ve got curtains in industrial spaces, lobbies, display spaces, tv studios, high schools, colleges, arenas, professional and amateur theatres, amusement parks, on tours . . .

What’s the most popular color for a main drape?

I would have to say that any of the blues are probably the most popular with the reds coming in second. But I’ve also seen purple, gold, green and brown for main drapes.

What’s the most popular fabric for a main drape?

KM’s Memorable used to be the most popular, but in the last year or two I think the IFR Charisma is gaining fast. The Charisma, not having to be retreated for flame retardancy, makes it a very attractive fabric for schools and churches.

What do you do for fun when you aren’t making curtains?

OK this could be long. We live near a tidal river that goes to the Gulf of Mexico. In the winter I love going up the river to the head springs and swim with the manatee; they are huge but so gentle. With the adults weighing in up to 2000 lbs they can be quite intimidating but once you’re in the water with them you realize they are harmless, just don’t swim under them. The babies are usually friendlier than the adults, they only weigh a few hundred pounds and are usually quite playful.  One time a baby kept coming up to me and hugging me with his forelimbs. I went under water to see him better and he put his nose and mouth right up against my mask and just stayed like that till I had to come up for air.  That was pretty neat. They are protected, downgraded from endangered, so there are strict rules we have to follow when interacting with them. In the beginning of the winter it’s much better because they aren’t sick of people yet.

In the summer I love going down the river to the Gulf to fish or snorkel for scallops depending on what’s in season. Scallop season starts July 1st for 2 months.  The water in the gulf is usually about 90 degrees by then so it’s pretty nice to get in. We usually find them in about 3 or 4 feet of water and carry a net with a long pole to scoop them up. It’s pretty awesome to see them swim, they have eyes all around the edge of the shell and under water they are almost a fluorescent color. When we get home we already know what’s for dinner.

If it’s not fishing or manatee season my husband and I like to go on motorcycle rides. Our 9 yr old granddaughter likes going with us too, and yes, I ride my own bike.  We ride pretty much year round in Florida but when we can get away for a few days our favorite place to motorcycle is the North Georgia Mountains. Lots of steep, twisty roads that are loads of fun. While in GA I love to hike in the woods. I would someday really like to hike at least some of the Appalachian Trail. The place we visit in GA is not very far from the beginning of the AT at Springer Mountain. The woods in FL are not that great for hiking, too many banana spiders and they bite.

I love gardening but only if it provides something like vegetables or fruit. My absolute favorite thing to do when I’m home after a long day of sewing curtains is - are you ready for this - hand quilting. My husband thinks I’m crazy to sew all day on the machines then turn around in the evening and sew by hand but I would hand quilt all night if I could.

Tags: , ,
Posted in personnel, stage curtains | Comments Off

10 Questions For Greg Mitchell

February 25th, 2009

Editors note: Greg Mitchell is the Service Manager and all around fix-it guy at Limelight - most often found behind the scenes. We’ve taken the opportunity to bring Greg “around front” and ask him a few questions about his work and what he does for fun when he isn’t up to his eyeballs in someone’s emergency. If you’ve got a question you’d like to ask Greg, leave a comment.

What’s your position at Limelight?

It is usually squatting or bent over . . . I’m sorry, I transgress. My business cards read “Electronics Technician and Factory Authorized Field Service Representative.” My ETCP Certification says “Entertainment Electrician.” All credentials aside, it is - “this is broken, can you fix it, this needs to be installed, have you ever seen one of these before?”

How long have you been at Limelight fixing dimmers, control consoles and other theatre electronics stuff?

Funny you should ask that. As of Feb. 26, 2009 I will have been here 5 years. Time flies when you are having fun!

Have you seen a lot of change in theatre electronics during your time at Limelight? Is this an area of rapid change?

This is a yes . . . and no answer. Venues still need lights dimmed. It doesn’t matter if they use resistance wire or IGBT dimming. With the economy, or lack thereof, in its present condition customers are scrambling to get their old technology up and running and to keep it running. But there are a lot of areas making giant strides:

  • Ethernet technology - it used to be one wire, one dimmer. Now you can send thousands of signals over a single “computer” cable.
  • Console power - While dimming consoles are still available (and still quite popular) that have  “one slider, one dimmer” a lot of the industry is moving toward programmable boards that allow the end user to push the GO button and have the next look ready for them. Now you can have a handful of channels or thousands, all in a package smaller than a breadbox.
  • Moving lights - At one time, not long ago, you could count the manufacturers of moving lights on your fingers. Now everybody and their sister is on the bandwagon.
  • Video integration - Single screen, multi-screen, projection, flat screen, etc.
  • LED components - More lumens per watt, cooler operating temperatures, compact size, lower power consumption, longevity, etc. LEDs are here to stay. There have been huge technological breakthroughs
    and we expect to see a lot more.
  • Dimmers - With the availability of high power semiconductors sine wave and IGBT dimming are catapulting in popularity. They give off less heat and produce less noise than conventional SCR/SSR/Triac systems. Of course, there is a trade off - cost. In time, prices will come down on these as they have for other electronics.
  • Software based formats - In the “olden days” if you wanted an upgrade you would send it to the factory and they would reprogram or replace a chip (or 10). Now you can upgrade by loading the software off the net. Any 12 year old can do it!?!
  • Special effects - Strobes, Gobo rotators, Scrollers, Fog machines, Snow machines, Bubble machines, etc. all controlled by DMX - one cable(!) - not a 6 pin plug here and a Cinch-Jones there.

What do you have to do to keep up with changing technology?

You have to work with the equipment . . . hands on. Some companies require you to be recertified every 2 years to keep up with the new technology. This training is done at the factory with the product engineers and phone support people. I have been bench trained to do in house and field service work. At this intensive you and a factory tech rip the products apart that come back for repair. It is certainly helpful to learn from people who see the problems everyday. There are also seminars and classes held at LDI and USITT every year. Here you can talk to other people in the profession and compare stories and common problems. There are also New Product showcases where different manufacturers show their latest designs. Also, to keep my ETCP Entertainment Electrician’s certification I must log the time I spend working in the industry.

I imagine there are still a lot of old, legacy systems out there - what’s the oldest or oddest technology you have been asked to repair?

Yes, there is still a lot of vintage equipment still in use. This is due, in part, to the belief that “It was good 40 years ago, things haven’t changed that much . . . have they?” Well, the company that made your equipment hasn’t been in business for 25 years. I still repair Century, TTI, Luxtrol (because we still have some parts!), LMI and some “no name”
products. I think one of the oddest jobs I did was replacing a solenoid in a panel that had burned out. I could find no name on the unit. There was another solenoid right next to it. I got the readings I needed off the good solenoid and hand-wound the coil on the bad one. It is still operating to this day.

Is there a “typical” repair call? Are there precautions an owner can take to minimize their risk?

Most “typical” repair calls involve neglect, abuse, being unfamiliar with the product, or lack of periodic maintenance. Just like your car, you have to change filters occasionally. The best thing to do is set up a time once a year (more often if in a dirty environment) to have the system cleaned and checked. The technician should check signals at the console and dimmers. This is where the line in the Operation Manual “No User Serviceable Parts . . . Refer To Qualified Technician” comes in.

Any extreme stories to tell - unusual problems, odd locations, weird circumstances?

There are always strange things. Recently I had a follow spot come in. The owner said it didn’t work well and had a funny smell. I plugged it in and found it not to work at all. After removing the power supply board I found a safety pin that had welded itself across two terminals on the secondary side of the transformer. It had also taken out a copper trace on the printed circuit board. This pin may have saved a costume but it killed a follow spot. (What was it doing inside anyway?)

I have to ask this. Have you every gotten to a venue only to find that the breaker was off or something was unplugged?

Too many times! When someone calls on the phone and says they have a problem, I have them step through a check list series. For example: Someone says their console won’t control the stage lights but the house lights work. At least there is power in the building. Are there lights in the dimmer rack? Is the console on? Is the console plugged in? Is the blackout switch on? Is the master fader up? Are your sliders patched to dimmers (DMX out)? What is your DMX range? From here on the questions become product specific. If there is still no communication then I hop in the car and head to the venue.

Prior to joining Limelight what was your background

For many years I taught music and repaired electronic musical instruments (synthesizers, organs, amplifiers, etc.) I played rock and roll in numerous bands. I worked for 35 years as the Technical Director for Berkshire Dance Theatre. For the 10 years prior to coming to Limelight I worked as an Electronic Technician in the Power Systems division of Commonwealth Sprague Capacitor as a Lead Builder, UL Inspector, and Field Service Technician. My degree is a BFA
with a concentration in Music and Arts Management.

What do you for fun when you’re not fixing dimmers

I didn’t know there was any other kind of fun! But seriously, I enjoy writing, arranging, and playing music. I love to hike and enjoy photography (35mm). In the summer time I pick a place I haven’t been to on the map and ride my motorcycle there. I try to eat at the “mom & pop” restaurants rather than the chains. It’s the beach, when I want to get away from it all.

Tags: , ,
Posted in personnel | Comments Off

« Older Entries
Newer Entries »
...