Background

In Construction. The site will include information about the research process and interviews that were conducted in the preparation of this book. Firstly the acknowledgement page:

Acknowledgements

My thanks to all those friends and TP personnel, past and present, who generously gave their time and assistance in consenting to be interviewed by David Collison, David Barbour, or myself, or who answered questions in the course of the preparation of this book. These include:

Roy Astley, Chris Baldwin, Benny Ball, Laurie Blackmore, Ben Boltin, Richard Brett, Andy Bridge, Bob Bryan, Ray Carter, Dawn Chiang, David Chivers, Shosh Copley, John Coyne, Brian Croft, Tom Davis, Benton Delinger, Millie Dixon, Tony Field, Lou Fleming, Tim Foster, Keith Gerchak, Jerry Godden, David Goodman, Victor Gotesman, Brian Hall, Pamela Hay, Andy Hayles, David Hersey, Steve Hocking, Michael Holden, Tony Horder, Paul Jenkins, Curtis Kasefang, Bryan Kendall, Graham Large, Jules Lauve, Gene Leitermann, Liz Lomas, Robert Long, Peter Lucking, Iain Mackintosh, Viki McHugh, Anne Minors, Michael Nishball, Roger Norwood, Robert Ornbo, Tony Palmer, Molly Pilbrow, John Pilcher, Stan Pressner, Harold Prince, Bryan Raven, Richard Rogers, David Rosenberg, Alan Russell, James Sargant, Robert Scales, David Staples, Roger Straker, Mark Stroomer, Philip Talbot, Alan Thomson, Lennie Tucker, Tony Walton, Duncan Webb, Matt Welander, Bruce Williams, Sam Wise, Steve Wolff, Athos Zaghi.

I am grateful to them all. Any omissions or errors in my reporting their contributions are solely my responsibility.

I have tried throughout to tell the story in a forthright manner. Some ugly events did occur during the late ‘70s and early ‘80s. The English laws of libel necessitate that I draw a veil over them. To those people who were damaged by those troubles, I apologize. I would have liked to have been more frank.

My thanks to Joe Volpe. I’m honored that he consented to contribute a foreword to this book. It has been a great honor to work with Joe. Few men have had such a career from junior carpenter to head of the world’s greatest opera company.

Of course, my most special thanks must go to my wife, Molly, for her patience over this very long labor and for her keen memory and practical assistance. Thanks to my partner in this venture, David Collison, who conducted many interviews, researched much history and made constant suggestions. Sincere thanks to Michèle LaRue, for her dedicated and diligent editing of my extended early drafts, Nancy Boersma for good advice, and Rob Halliday for his gimlet eye upon the final draft.

My thanks to many colleagues at Theatre Projects for their practical help, in particular to Kristen Mathias, and Ruth Smallshaw, for their assistance in marshaling the many consultancy photographs.

Last, but very much not least, my appreciation to Jackie Tien, of PLASA Media, my publishers, my art director, John Scott, and my editor, David Barbour. David brought his deep-seated knowledge of the theatre industry, his talents as a writer, and his remorseless attention to detail to this project. My thanks to them, and to Matthew Griffiths, Chief Executive Officer of PLASA.

My thanks to Ralph Pine, of Quite Specific Media, and Nick Hern, of Nick Hern Books my publishers of STAGE LIGHTING DESIGN - THE ART, THE CRAFT, THE LIFE; and John Offord, of Entertainment Technology Press for WALT DISNEY CONCERT HALL - THE BACKSTAGE STORY, for the use of extracts in this book.

My gratitude too to the generous sponsors who have supported this venture and are listed on pages 460-461. JR Clancy, ETC, Philips Entertainment, PRG, Rosco, Stage Technologies, Theatre Projects Consultants, White Light, and Wybron are all companies whose initiative and innovative qualities have done so much to build our amazing industry. I thank them.


ARCHIVES

Stage Complete Service

Then, perhaps a partial answer as to how 50 years got transmogrified into 486 pages:

Fortunately, without really meaning to, I have accumulated every appointment dairy back to the early 1950's. Then for many years, the only way I could make sense of my multi-tasking life was with WORKBOOKS, who said what, and to whom, when. These too I saved. Of course, scrapbooks, files, photographs, lighting plots and plans, and the vast archives of TPC, all helped.

And the memories of so many people too. David Collison, David Barbour and I, interviewed 70 present, or past, TP staff and friends. For many of these, audio archives were made and transcribed. Perhaps some of these recordings might be fun on this website in the future. But so many people pitched in.

First Michele LaRue, then Harbottle & Lewis, my wonderful London Lawyers, and finally, David Barbour edited the compiled results. Somewhat surprisingly, considering the weightiness of the final book, quite large chunks had to be left "on the cutting room floor." Maybe, later, some of those goodies may re-appear on this site.

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© Richard Pilbrow   e: rplight@atheatreproject.com      E: NYC@PLASA.ORG       WWW.lightiing&soundamerica.com