There are no wings, no fly space, no orchestra pit.
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He was matched, effusion for effusion, in the orchestra pit.
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Peeking out of the orchestra pit was a new face, too.
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Ms. Gilbert Trying to reach an exit from the orchestra pit.
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The orchestra pit and bar were crowded, and so was much of the balcony.
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The orchestra pit and stage glowed like a music box laid out below him.
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Trump rallies have become a cacophonous orchestra pit, which Trump conducts into perfectly timed discord.
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A problem: The music hall had no orchestra pit, and this show needed an orchestra.
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Mr. Nézet-Séguin had recently arrived in his dressing room, just steps from the orchestra pit.
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When Sanders seemed to be conducting an orchestra pit at the debate that viewers could not see.
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Then she rose and walked over to the orchestra pit and asked the conductor to start again.
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At a grand piano in the orchestra pit sits Mr. Eubie Blake, composer of all the music.
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The Ping-Pong players are elevated at the back, like opera singers performing above an orchestra pit.
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In fact, it's referring to an orchestra pit, and the wind (instrument) in question is an OBOE.
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There is no curtain or orchestra pit, so we knew the dancing would be to recorded music.
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Correction: An earlier version of this story misstated the manner in which Roger Kaiser approached the Orchestra pit.
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Mr Fanni hopes soon to mix Omani musicians with the foreign players who occupy the orchestra pit now.
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There are, however, no fly space to hang big sets, no orchestra pit and no sound-reflecting wall.
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The devil, violin in hand, climbs to the stage from the orchestra pit on a blood-colored ladder.
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Guests sang and played in the table's central orchestra pit, or used the table as an impromptu stage.
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Another audience member, Alexandra Sherman, said as the delay continued, security guards took up posts by the orchestra pit.
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New York's Metropolitan Opera was evacuated after reports say a man sprinkled an unknown powder into the orchestra pit.
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And sometimes when it spins around especially fast, I feel like I'm going to fall off into the orchestra pit.
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By the sounds of it, they've spent that hiatus living in between an orchestra pit and a life-altering peyote trip.
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He practically grew up in an orchestra pit where his father was a big band leader at New York's Roxy Theatre.
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The man was observed reaching into a black bag and sprinkling the contents into two separate places in the orchestra pit.
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A quartet of singers called Theater of Voices, performing from the orchestra pit, contribute choral refrains and echo vocal lines hauntingly.
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The full havoc that descended on the Wortham, however, becomes evident only on a visit to the corridors beneath the orchestra pit.
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Finally, the stage's proscenium was dismantled and the stage extended more than 20 feet, over the orchestra pit and into the audience.
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As the curtain rose on opening night, the back of Benjamin's head could just be seen above the rim of the orchestra pit.
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It was inarguably a step up for the company: a wider stage, a larger orchestra pit, nicer dressing rooms and better rehearsal spaces.
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Some of the singers are seated with instruments, and during the paean to "holy German art" they mime their counterparts in the orchestra pit.
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The tension built as they approached the edge of the stage closest to the audience, only a few inches from the chamber orchestra pit.
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This clue reminded me of Josephine Baker's pet cheetah, "Chiquita," who was said to occasionally slink offstage and into the orchestra pit during performances.
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The two quartets combined with other string players in a stingingly focused account of Stravinsky's "Apollo": too bad that the orchestra pit was considerably overamplified.
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An enthusiasm that blinded me from seeing the potential risks involved in scattering the ashes of my mentor in the orchestra pit of the Met.
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At one point, he stepped into the orchestra pit and started playing the xylophone, the whole time "laughing sadistically," according to witnesses quoted in the report.
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Those opening sounds so filled the house that you felt as though you had been transported into an orchestra pit, cheek by jowl with the players.
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An indoor lake consumed the carpet at the front of the main theater's auditorium (now covered in plastic sheets); fortunately the orchestra pit was sealed off.
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But as an afternoon's first notes sound from that fabled covered orchestra pit, which leaks a golden glow into the darkened amphitheater, we renew our faith.
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Before the parade, Ms. Vishneva had been pelted with flowers by the cast of "Onegin," as well as by people in the audience and orchestra pit.
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And then it happened: One broke the forth wall, leaving the stage entirely, climbing through the orchestra pit and directly into the front row of the audience.
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It is almost as if the doll is on the orchestra pit with her head turned toward us, while boy is on stage, about to deliver his soliloquy.
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Dr. Donald O. Quest, a neurosurgeon at NewYork-Presbyterian, has played trombone in the orchestra pit for several shows, and Dr. Mellman has made cameos in some productions.
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He'd selected these theatres because he had been planning to put on a musical of "Pure Comedy," and he wanted the band to be in an orchestra pit.
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There were also designated quiet areas in the theatre so the kids could get out of their seats and the orchestra pit was transformed into a space for wheelchairs.
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The orchestra pit rises into full view, and the conductor takes us through parts of the score we're about to hear, almost invariably helping us to hear new layers.
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It was the middle of "Nutcracker" season, and that evening he was scheduled to play the celesta, the bell-like keyboard instrument that accompanies Sugarplum's solo, in the orchestra pit.
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PARIS — As trumpets sound the opening bars of Berlioz's "Marche des Troyens," first one, then more tiny heads appear on the horizon, a good 150 feet from the orchestra pit.
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Geared to audiences 5 and older, it will explain the daily lives of dancers, how their intricate costumes are made and even the perspectives of those in the orchestra pit.
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A new mechanized lift for the 564-seat theater's orchestra pit will be put in along with updated lighting equipment, and hand-painted murals there will be cleaned and restored.
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Joshua Barone interviewed the conducting dean of the Bayreuth Festival, Christian Thielemann, who talks colorfully about cutting off his ears (metaphorically) to attune himself to the unique Bayreuth covered orchestra pit.
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I tell my commander that I want to evacuate the [orchestra] pit, and they give me the authorization and tell me it's secure and that in any case they'll cover me.
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"Regardless of if I fall into the orchestra pit, it's going to be an incredible sense of pride to know that I stood on the Broadway stage and played Tevye," he said.
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He sits in a booth, following along with a conductor's score and constantly adjusting several dozen faders, dials that control the levels on microphones set up onstage and throughout the orchestra pit.
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"Today's performance of Guillaume Tell was canceled during the second intermission because of a disturbance by an audience member, who sprinkled an unidentified powdered substance into the orchestra pit," the Metropolitan Opera announced on Facebook.
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To call up his ghosts, Pepper projected a bright light onto an actor in a hidden, cutout space beneath the stage, something like an orchestra pit, casting a reflection onto an angled pane of glass.
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It was not immediately clear if Ms. Opolais's withdrawal would have ramifications in the orchestra pit: "Tosca" is scheduled to be conducted by her husband, Andris Nelsons, the music director of the Boston Symphony Orchestra.
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And earlier this season, a matinee of Rossini's "Guillaume Tell" was canceled after the second intermission, after an audience member was spotted sprinkling white powder into the orchestra pit, prompting fears of an anthrax attack.
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On holiday concerts that aired on PBS, the cameras showed him in the orchestra pit, from a distance — little more, one year, than the back of his head, his arms raised, his baton in his hand.
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They hired one of People's "most beautiful people" of 463, the pop songwriter Burt Bacharach, as co-musical director, and for the first time in Oscars history, a D.J. and turntables appeared in the orchestra pit.
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It was said of her that unlike so many stars who loomed extra-large across the orchestra pit, she was just as much of a "head trip" (as a friend of mine put it) in real life.
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Purcell's "Chacony," in red baroquelike costumes, is accompanied by the Repast Baroque Ensemble in the orchestra pit; Britten's is played by the Shanghai Quartet behind the dancers, who now return to the stage in pale modern attire.
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As directed by Rachel Rockwell, "Wimpy Kid" is faithful to the books on which it's based: The set is dominated by a gigantic sheet of notebook paper, which forms the backdrop and spills over into the orchestra pit.
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Tens of thousands of LED lights suspended across the stage and orchestra pit undulate and gradually change color, while the strings of lights rise and fall; the effect is to turn the entire space into a phosphorescent sea.
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He even shared his bows with the other cast members also exiting the show, including Phillipa Soo and the Tony winner Leslie Odom Jr. But then the theme song to "The West Wing" kicked in from the orchestra pit.
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One can imagine that Moorman's interest in accreditation had something to do with the times: not many female classical musicians had solo careers back then; they either taught or, if they were lucky enough, played in some orchestra pit.
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Before introducing Bette Midler's performance of the Oscar-nominated song "The Place Where Lost Things Go" from Mary Poppins Returns, Key, 47, flew from the orchestra pit to the ceiling of the Dolby Theater just like the magical nanny herself.
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It was, in a very real sense, the end of an era: On Saturday afternoon, James Levine conducted his final performance in the orchestra pit as music director of the Metropolitan Opera, the position he was appointed to in 1976.
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On Sunday, the orchestra pit was raised to stage level, allowing Ms. Netrebko and her accompanist, the distinguished pianist Malcolm Martineau, to be placed in front of the curtain, with a row of wood panels behind them to project the sound.
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It's a trap a bass can fall into very easily: You try to listen to yourself and make it sound good to you, but it's only going just past the orchestra pit a little bit, and it dies out there.
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As "Tristan und Isolde" began, the sound seemed to emanate from all around — Wagner's famous sunken orchestra pit (he called it a "mystic abyss") was even more sunken than I expected, with the musicians and the conductor completely hidden from the audience.
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Paz's work on the production is notable because of the show's unique set up: Hadestown is presented in-the-round with a live band on the stage rather than in an orchestra pit, making the cast performances feel more rock-n-roll than musical.
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Mr. Charpenel added that he also wanted to figure out ways to better use one resource that sets El Museo apart from others: its art-deco theater, El Teatro, which was built in 1924, and will get a new orchestra pit lift and lighting system.
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The Dallas opera lover who scattered a friend's ashes in the orchestra pit at the Metropolitan Opera on Saturday — causing a terrorism scare, and forcing the Met to cut one performance short and cancel another — apologized Wednesday in a letter emailed to Met officials.
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In front of the scrim, atop where the orchestra pit has been covered, actors in dark clothes and green faces move in slow motion, carrying and rearranging objects: a tin drum, a cutout of a church, the blue flower that was a key symbol of German Romanticism.
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There are really two artists who can lay claim to the title role: Jesse Kovarsky, the dancer who strikes Chagall-worthy poses onstage while playing the violin version of air guitar; and Kelly Hall-Tompkins, the versatile violinist who makes the music come alive in the orchestra pit.
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From trotting out Brie Larson, Sigourney Weaver, and Gal Gadot to say that "all women are superheroes" to the presence of a woman conductor in the orchestra pit (but only for a single number, of course, not the whole show), it was a band-aid on a bullet hole.
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And if that did not reach the masses, there was the "Opera Camion" project, a truck that carried a stage into Palermo's poorest neighborhoods, with the orchestra "pit" in the street in front, and a full production of "The Barber of Seville" on the portable stage, for free.
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"Kock Fight Club," an adaptation of "A Midsummer Night's Dream" produced at Bard in 2009, was staged entirely in the orchestra pit, under a giant video screen lowered over it like a lid that showed a mash-up of footage of Michel Foucault, Angela Davis, Cher and Eva Gabor.
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There were practical concerns that the team had never thought of: Mr. Peck had been surprised to learn that two of his ballets could not be performed back to back with only a brief pause because the orchestra pit needed to be reconfigured to play the very different types of music.
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This is the Met's first staging of Rossini's last opera in over 80 years, and it has recently been in the news for a rather unpleasant reason; the matinee on October 29 was stopped during the second intermission when a patron sprinkled his friend's ashes into the orchestra pit, prompting a police investigation.
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Frank Zappa Zappa was performing in London in 1971 when a fan rushed the stage during the band's encore and — either because Zappa had been "making eyes at his girlfriend" or the band "hadn't given him value for his money" — punched Zappa, causing him to fall 15 feet into the venue's concrete-floored orchestra pit.
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An audience member at the Metropolitan Opera sprinkled a powdery substance — what the police said may have been the ashes of his mentor — into the orchestra pit during an intermission of a performance on Saturday, setting off a police investigation and the cancellation of the rest of that opera and a production that evening.
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Antonenko, who increasingly had trouble with high notes throughout the show, acted the role and mouthed the words as Anile stood right above the orchestra pit, according to the AP. "When I started to sing, Maestro was surprised," Anile told the AP. But the conductor soon understood what was going on, and Anile finished out the show.
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Pop emerged with blood reportedly spurting from his torso, and after attempts to patch him up with gaffer's tape failed, none other than Alice Cooper finally took him to the ER. Patti Smith Punk's poet laureate, Smith was on an ill-matched tour with Bob Seger in 20103 when she fell 15 feet off stage in Tampa, Florida, landing in — what else — an orchestra pit.
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A diagram of the Collins Center stage and orchestra pit.
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Deeper pits are sometimes accessible from a trap room or orchestra pit.
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An orchestra pit can be created at floor level in various formations.
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The orchestra pit was also renovated and can now be raised or lowered as deep as .
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At its inception in 1982, it featured computerized lighting systems, translation facilities and an orchestra pit.
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In addition, a large orchestra pit could be raised and lowered from the basement for theatric use.
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The women also sang choruses to tunes on stage while Tolbert and band were in the orchestra pit.
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They get onto the stage, and in the orchestra pit, and become part of the act, upstaging Betty.
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Musical interludes were sung by cast members during the act breaks, accompanied by a harpsichord in the orchestra pit.
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The interior retains the orchestra pit and side boxes. The boxes are framed by turned posts, and the appliqué decorated railings. Latticework, similar to that used in Queen Anne houses, connects the posts across the top. A new floor with modern seating was installed in 1967, along with improvements to the orchestra pit.
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The orchestra pit can accommodate up to 24 musicians. 5 star dressing rooms and 8 additional dressing rooms, total 119 piece.
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The elevator provides access to the basement levels for transportation of equipment into the orchestra pit area and the choir dressing rooms.
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The theater itself, located within the Knight Fine Arts Center, features an orchestra pit and a balcony, as well as modern lighting and sound systems.
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This building is used as an assembly hall and has a retractable stage with under-stage orchestra pit and seats an audience of around 1,000.
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IVC construction in 2008 Irvine Valley College has a five-year, $100 million building program. A new Performing Arts Center, designed by Arquitectonica, was dedicated on October 30, 2007. The venue has a 400-seat main theatre with a single-level balcony that wraps around the orchestra pit. The proscenium stage with an orchestra pit capable of rising to stage level accommodates large performances.
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The members of the pit orchestra are some of the only musicians in Fairfax County to have ever played a musical in an actual orchestra pit (Hayfield Secondary School also has a working orchestra pit). The pit sinks six feet below the stage. The FX Players won the State Title at the VHSL One-Act Competition in 2008. They placed second at Districts in 2009.
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Hayfield's Rebecca S. Wilburn Auditorium is one of the largest auditoriums in Northern Virginia, and includes an orchestra pit elevator lift built into the front of the stage that allows that portion of the stage to act as either an orchestra pit or stage extension. Technical support for the Wilburn Auditorium is supported by a student organization, the Hayfield Audio and Lighting Technicians ("HALT").
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The Royal Swedish Family of King Carl XVI Gustaf keeps the Royal Box reserved, located in the first tier in the auditorium above the orchestra pit.
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The auditorium has space for 873 visitors. The main hall consists of a space and stage area of approximately , while the orchestra pit encompasses an area .
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Gammond, p. 59 ;Orchestration In his early pieces for the Bouffes-Parisiens, the size of the orchestra pit had restricted Offenbach to an orchestra of 16 players.
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The Forest Opera (, ) is an open-air amphitheatre located in Sopot, Poland, with a capacity of 4400 seats, the orchestra pit can contain up to 110 musicians.
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The Art Deco-style theater has 3,491 seats, including a balcony section. A large stage is extended by an orchestra pit that can be raised or lowered.
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The British governor at the time, Sir George Yonge, 5th Baronet, designed the theater and had it built in 1800 in what is now Riebeeck Square in downtown Cape Town. It had no lobby or orchestra pit and the stage small, but the interior was lavish, featuring a balcony and richly decorated boxes for patrons. Underneath the theatre lay storerooms and shops. An orchestra pit was built in 1804.
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Friends of the Opera House steering committee established. Membership drive for Friends of the Opera House begins. Smoke detectors installed. Foodtown donates $10,000 for refurbishing the orchestra pit.
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Originally planned to be on the left-hand side of the orchestra pit, the console was placed in the center of the orchestra pit on a lift."Theater Builders Sure Capitol Will Be Read for Grand Opening Monday Night," Daily Sentinel, Rome, New York, December 5, 1928. The Capitol's projection booth was ready on December 7, when it was tested. It contained two projectors with both Vitaphone and Movietone equipment for talking pictures.
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The spacious backstage spaces and dressing rooms allow maximum flexible space to support a wide variety of companies and performance needs. The orchestra pit accommodates up to 42 musicians and adds the dimension of live orchestral music. The orchestra pit can also be adjusted to add two additional rows of seating in the house. The stage is large enough to provide choreographers with ample space in the wings to perform large-scale productions.
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Since then the orchestra pit has been changed and enhanced to work better with modern theatre. Now orchestra pits are designed much better and have a lot of different uses.
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The show designers place the pit where it would be most effective for the show. The term "pit" comes from musical theater, where the accompanying orchestra sits in the orchestra pit.
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A heating system was installed under the stage and an air ventilation system in the roof. Installed in the Capitol's orchestra pit was a 3/7 Möller, Style-70 Theatre Organ.
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Orchestra pit sandwiched between the stage and the seats at the David H. Koch Theater An orchestra pit is the area in a theater (usually located in a lowered area in front of the stage) in which musicians perform. Orchestral pits are utilized in forms of theatre that require music (such as opera and ballet) or in cases when incidental music is required. The conductor is typically positioned at the front of the orchestral pit facing the stage.
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Underneath and in front of the apron is sometimes an orchestra pit which is used by musicians during musicals and operas. The orchestra pit may sometimes be covered and used as an additional playing space in order to bring the actors closer to the audience. The stage is often raised higher than the audience. Space above some proscenium stages may include a flyloft where curtains, scenery, and battens supporting a variety of lighting instruments may hang.
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In addition to these symbols, orange blossoms, chrysanthemums, and lotus flowers appear throughout the theatre. The highly decorated proscenium arch and safety curtain maintain the Chinese design influence. Beyond the decorative features of the building, the 5th Avenue Theatre also contained notable technical features when originally built. An ascending orchestra pit and independent Wurlitzer organ platform allowed the musicians to be raised up to main stage height or to orchestra pit level from the basement below.
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The interior is built around the auditorium. It is semicircular, with an orchestra pit below the stage. The main seats and balcony provide 1,500 seats. The stage itself is wide and deep.
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He saw the crook emerging from the wings and somersaulted into the orchestra pit in obvious panic. The audience went wild, and he won the competition and began a career in vaudeville.
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Both wings extend the full 32 feet depth of the stage. From the plaster line, the apron extends 6 feet downstage. This apron can be further extended using platforms in the orchestra pit.
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Simeone 2000, pp. 191-192. The stage and orchestra pit were able to be removed in order to transform the auditorium into a massive hall which could accommodate large balls and other festivities.
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In 1923, the Allen Theatres chain was sold to Famous Players, which by 1928 financed major renovations to the theatre including building an orchestra pit. The venue remained an active movie theatre until 1957.
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In January 1910 the Lethbridge Herald announced that a new opera house with orchestra pit would be built And it opened in 1912 as a vaudeville and theatrical performance venue for Northwest Mounted Police.
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He also has a reoccurring role in the "Boyz in the Sink" Silly Songs. Khalil returns in the series The VeggieTales Show and plays music in the orchestra pit. Khalil is voiced by Tim Hodge.
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These orchestra pit/fore-stage lifts can also be lowered to the basement where audience seating can be positioned on the lifts. The audience seating is located on seating wagons, two of which travel on fixed rubber tire wheels from their storage level onto one of the lifts. The other four seating wagons travel on air bearings which float the wagons like a hovercraft onto downstage most orchestra pit/fore-stage lift. Orchestra player chairs and stands can also be transported to stage level via these lifts.
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Most of DMMO's opera productions are performed at the Blank Center for the Performing Arts on the campus of Simpson College. With 467 seats arranged in a semicircle, the Blank Center provides an intimate setting for opera. This intimacy is enhanced by an unusual stage design which features a semicircular stage in front of the orchestra pit, in addition to the traditional proscenium stage behind the orchestra pit. This semicircular stage, or "playing circle", is separated from the front row of audience seats by only a railing.
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Significant paint and plasterwork restoration has been completed around the building and 300 theatre seats were removed to make way for a flat terrace in the auditorium. The orchestra pit was also covered, except for a section that will be the future home of an antique Wurlitzer pipe organ console. The terrace and covered orchestra pit provide valuable open floor space to make the auditorium more versatile and capable of table seating. The terrace can accommodate 175 for table seating and the orchestra deck can hold 25.
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The theater's stage was round, and the orchestra pit nearby was recessed and floating. The theater had high diving platforms near the stage. Its grandstand was fan- shaped and built to a capacity of 5,600 seats.
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The high ceiling above the auditorium takes the form of a coffered segmental tunnel vault. The stage is 42 feet deep and 37 feet wide. The orchestra pit holds 80 musicians. The theatre has 1,920 seats.
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The Performing Arts Center is home to touring shows, lecturers, and programs for cultural outreach. The 825-seat theatre features an orchestra pit and shell, a full-sized stage, and technology for lighting, sound, and production.
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The Hamilton Fine Arts Center seats 750 people. It contains a full-fly stage, orchestra pit for live musical accompaniment, ticket booth, dressing rooms, new music rooms, costume-prop storage, control booth area, and art display area.
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Similar to the Lyric Theatre, it can also house 2000 people. The orchestra pit can hold musicians with a full stage house facility that caters performance from dramas to grand opera.Architecture Australia, 1986 June, v.75, no.
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Having a lift set up this way gives the theatre much more flexibility and ability to adapt to different events that occur in the theatre. It allows many different setups, each one personal to certain types of productions. An orchestra pit doesn't have to be located directly in front of the stage, either, although many patrons expect to see the orchestra performing in front of the stage; when an orchestra pit is elsewhere in the theaters, the conductor's movements may be broadcast on monitors visible from the stage, so that the actors can follow cues.
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The Orchestra Pit Lift is made up of two halves for versatility. A seating wagon can be moved manually to fill the orchestra pit to enlarge the auditoriums capacity. The 150-seat studio theatre has dual purposes and can be used to host conferences and rehearsals as well as serving as a small theatre, with different seating arrangements and staging configurations. These seats and configurations can be transported around using a retractable seating unit and a demountable platform system where configurations can be constructed from a ready-made kit.
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The grand theatre has a capacity of 1,484 people. There is an orchestra pit and a revolving stage that can be raised or lowered. It is used for many types of performances, including opera, ballet, musicals and general theatre.
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Phillips was overruled by Emmeline Pankhurst. Pankhurst arrived in Aberdeen and carried through with her plan to lead a protest. The disruption took place and it resulted in a fight in the orchestra pit and the suffragettes being thrown out accordingly.
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Located adjacent to Bass Concert Hall, part of the Performing Arts Center complex, is the McCullough Theatre, home of The University of Texas Opera. The theatre contains 400 seats and a 30-foot proscenium stage and orchestra pit for 35 musicians.
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The stage is by . A low wall separates the orchestra pit from the seating. Doors at the rear of the stage lead to dressing rooms. The stage edge is equipped with footlights, while the original painted stage backdrop remains operable.
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The building includes a full stage and orchestra pit originally intended for Vaudeville performances. The theater was purchased by Trueman Rembusch, who facilitated the theaters first renovation in 1936. In 1948, it underwent a second renovation in the Art Deco style.
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Retrieved 11 August 2011. The main auditorium, holding 1800, and the orchestra pit large enough for 60 musiciansFaris 1980, p. 169. were among the parts of the building that were lost. The amusement park was only open for a few weeks.
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The Concert Hall, long called the Concert Chamber, had a proscenium and a single gallery. Neither auditorium had a fly tower or an orchestra pit because they were designed primarily for musical performances. The project cost £86,000, exclusive of the organ.
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Over the decades the NYCB Orchestra has welcomed other noted orchestral musicians to collaborate on special performances. Included among this group was John Serry Sr., who served as the lead orchestral accordionist during the NYCB's 20th anniversary season in the premiere of Jacques d' Amboise's Tchaikovsky Suite (1969). In January 2019, it was announced that an anonymous donor had funded the renaming of the orchestra pit as the "Stravinsky Orchestra Pit" presumably in honor of the great number of premieres and performances of that composer's works the ballet has done, perhaps more than any other orchestra in the world.
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The Compton OrganIn front of the centre of the stage is a fully illuminated three manual 6 rank Compton organ which is able to rise from the orchestra pit on a lift. It can be seen being played in a BBC TV production of Dennis Potter's Lipstick on Your Collar.Cinema Organ Quiz 2 This is a pipe organ and contains about 500 organ pipes which are housed in two chambers beneath the stage. The sound is allowed out into the orchestra pit (and hence into the auditorium) through swell shutters – large wooden louvres controlled by the organist.
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The Tony Awards Administration Committee ruled in October 2016 that the Hudson Theatre is deemed to be a Tony-eligible theatre, with "970 seats without the use of the orchestra pit and 948 seats when the orchestra pit is utilized by a production."Viagas, Robert. "Tony Administration Committee Rules on Cats and Paramour", Playbill, October 14, 2016 The Hudson reopened as a Broadway theater in 2017 with a revival of the Stephen Sondheim musical Sunday in the Park with George. The limited 10-week run featured Jake Gyllenhaal and opened February 11 for previews with an official opening on February 23, 2017.
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Stage, boxes and orchestra pit In 1979, the building was restored, and an orchestra pit was added to the original Matcham design. Since then, the Opera House has been a full-time venue for stage productions, presenting approximately 450 performances per year, including opera, dance, musical theatre, pantomime, comedy, drama, children's shows and concerts. The theatre is staffed by a small full-time technical crew for all the backstage work, setting up all the shows and artists that appear. Volunteers from the local community are also employed for front-of-house duties including bar work and as ushers.
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The Grand was then renovated in 1930 into a movie theater. The second balcony and box seats were removed and the orchestra pit was covered over. The semi- circular stage was straightened. A big screen and new projector was added to the theater.
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The building's structure is conventional, with a proscenium arch stage. The two tiers of seats are set at a steep gradient, with the option to just use the stalls for smaller performances. The orchestra pit is convertible to allow for different types of performances.
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After Rae had lost the 1995 provincial elections to the Progressive Conservative Party of Ontario under Mike Harris, the plans for renovation were scrapped. Among them were plans for a re- orientation of the auditorium (which would face east, not south), and an orchestra pit.
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The chamber theatre was opened, which was transformed to a children's theatre from 1965. After the theatre building's deterioration worsened in the middle of the 1980s, a 5 year long reconstruction started in 1986, equipping the theatre with a modern orchestra pit and new machinery.
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The stage has a diameter revolve. A removable apron stage section allows for an orchestra pit for 22 musicians or an extra two rows of seats as required. When built the maximum seating capacity was 574. Since then it has been increased to 586.
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The stage is over wide and deep with approximately to the grid and more than of wing space combined. It has 80 fly lines including 7 overhead lighting bars and an orchestra pit that can be hydraulically raised to audience floor or stage thrust levels.
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Notable visitors to the Performance Hall include U2, Ray Charles, Randy Newman, Jeff Dunham, STOMP, the Producers, Hairspray, and many more. The Performance Hall features a hydraulic orchestra pit that can be lowered for use by an orchestra or for use as a service elevator.
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In 1950, the Starlight Theatre Association of Kansas City, Inc., was formed as a 501(c)(3) not for profit corporation to operate, program and maintain professional theatre in our community. In 1958, Jerry Lewis paid for a stage extension that covered the orchestra pit.
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Located on the lower level of St. Jean Baptiste Church at 184 East 76th Street in New York City, Dicapo Opera Theatre was completely remodelled in 1995 and is a fully equipped, 204-seat air-conditioned facility with orchestra pit, spacious lobby areas, offices and rehearsal spaces.
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In 2012-2013 plans were made to renovate the theatre to create an orchestra pit and backstage area to increase the capability for live shows. The plan did not proceed when the owners did not buy the shop behind the stage to build the proper stage.
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The public address system consists of speakers located to the left, right and above the proscenium arch, controlled by a 32 channel audio mixing board between the left and right mezzanines in the house. A 16 send, 4 return snake extends from the mixing board to the orchestra pit.
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In the 1980s, the introduction of electronic synthesizers, sequencers and prerecorded music tracks was initially greeted with fear by musicians' unions and performers. However, rather than entirely replacing traditional orchestra pit instruments, these technologies are often used alongside the "live" violin players, wind instrumentalists, and rhythm section members.
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Schoonover also revealed major renovation plans between the company and Union Avenue Christian Church.Miller, Sarah Bryan, "Director Has Big Plans For Union Avenue Opera." St. Louis Post-Dispatch 16 Jul 2006. In 2007 a new orchestra pit and expanded stage were constructed successfully completing UAO’s first capital campaign.
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NAI offers several music courses and activities, such as wind bands, string orchestras, choirs, and music theory and composition electives. Additionally, NAI students have the opportunity to participate in extracurricular music activities. Some examples are marching band, Strolling Strings, NA Symphony Orchestra, and orchestra pit for the musical.
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Lakeside Hall features a 350-seat theatre, with an orchestra pit behind the stage and state-of-the-art sound, lighting and acoustic systems. It is used for plays, concerts and lectures. Additionally, the main academic lecture hall has been relocated to Hillside Hall from the original building.
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The 720-seat theater holds an advanced A/V setup with wireless audio, manual and automatic lighting, orchestra pit, and a full stage. The seating areas are split between two floors. The building, along with a normal theater with stadium seating, contains a black box theatre for specialized uses.
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The external brickwork was tiled over. A new readograph was installed above the entrance displaying what films were showing. The original proscenium was removed along with the orchestra pit. The auditorium was painted black and 392 new seats were installed with red carpets and drapes to complement the decor.
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Girvan Corporation pledges at least $5000 through pre-Christmas competition. 1990 Orchestra pit refurbished. 1991 $51,000 Lotteries Commission grant towards sprinkler system. 1991 Exit doors installed at either side of the building replace two doors at the front of the building and make room for upgraded toilet facilities.
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It was listed on the National Register of Historic Places in 1979. Completed in 1912, the two-story brick structure measures . The Colonial Revival style facade features a brick parapet, columned porch, and a Palladian window. The interior contains an auditorium, balcony, stage, dressing rooms, and an orchestra pit.
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Kino Babylon, 1949 Demonstration against the closure of the cinema, 9 January 1990 In the year 1929 the Babylon opened as silent film cinema with an orchestra pit and a cinema organ for musical accompaniment. During the 1948 renovation the orchestra pit was closed and the organ dismantled. A projectionist of the Babylon, Rudolf Lunau, was from the Machtergreifung in 1933 until his arrest in 1934 a member of an illegal resistance cell of the KPD, and held meetings in "his" projection room, where he also hid opponents of the regime who went underground. At the beginning of the 1980s a metal plaque was placed in the foyer of the cinema to commemorate him.
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The National Cultural Centre, the premier auditorium for cultural presentations in Georgetown, Guyana. It is on Homestretch Avenue, in D’Urban Park (south of the Botanical Gardens). It rises , is long and wide, and seats about 2,000 people. Its stage is deep with an orchestra pit, and has a and opening.
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Naqqar Khana near Fatehpur Sikri, Delhi. Naubat Khana at Bara Imambara, Lucknow. Portrait of Mirza Dakhani Nabut Khan, Brooklyn Museum Naqqar Khana (, ) or Naubat Khana (Hindi: नौबत ख़ाना, Urdu: ) is a term for a drum house or orchestra pit during ceremonies. The name literally means drum (Naqqar/Naubat)-house (Khana).
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The balcony level extends over two-thirds of the sloping main floor. The heavily decorated ceilings and walls include pilasters rising to complex entablatures, statuary, and arches framing the wall boxes. A Czech made crystal chandelier hangs from the ceiling. The orchestra pit can be raised and lowered by an elevator.
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Brightwell House supplied a restaurant (the Castle Restaurant) and club room, with offices and dressing rooms above. The Redgrave Theatre was built with an orchestra pit for 10 musicians and with a stage equipped with a permanent revolve. The auditorium was a plain concrete structure, fan shaped in a single rake.
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18 The family's finances were no longer comfortable, and to support himself Massenet took private piano students and played as a percussionist in theatre orchestras.Irvine, p. 15 His work in the orchestra pit gave him a good working knowledge of the operas of Gounod and other composers, classic and contemporary.Macdonald, Hugh.
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She repeatedly gets in the way of the show's star and Renal's fiancée, Paulette Mascar (Gertrude Astor). Paulette finally pushes her, sending her crashing into a harp in the orchestra pit. When Renal tries to separate the battling women, Paulette slaps him. Renal also sends Kiki a letter of dismissal.
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The covered area of the new theatre building is double so big as of the old building. It has a foyer. The heatre has a rotating stage and an orchestra pit. Six dressing rooms for actors, two rehearsal rooms, and rooms for lighting and sound personnel are incorporated in the building.
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Auditorium decorations Denfeld's Maroon and Gold Day is Friday of homecoming week. Students wear maroon and/or gold clothing and accessories. During the assembly, the band marches from the back of the auditorium through streamers and balloons to the orchestra pit playing the cadence and school song. Everyone stands throughout the entire assembly.
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They also improve the options and possibilities for staging setups. The staging structure allows for creating an elevator, apron, or orchestra pit by using a hydraulically operated platform. Also, the stage area is almost three times the height of the seating area. Housing the art department The Art building has three stories.
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Green stained-glass lamps with fluted bulbs adorn the walls. Japanese dragons and glowing lanterns cover the organ screens on either side of the stage. Seating is on two levels, the main floor and a sizeable balcony. At the front of the theatre, in front and below the stage is an orchestra pit.
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For the first four seasons, performances took place in the Orangery, into which had been fitted raked seating (the seats themselves came from Covent Garden), stage and orchestra pit. For the 2002 season, the charity made significant changes to the auditorium which was expanded.Clements, Andrew. Anything Goes, The Guardian (London), 17 June 2002.
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The orchestra pit for Katharina von Bora contains two separate orchestras; one classical and one pop. They never play separately. When the moment requires a special pop-style color, the composer, who made the whole orchestration, uses both groups of musicians. However, after the premiere, the pop orchestra was concentrated and reduced.
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A large stage for both traditional drama and musical shows as well as the cinema screen, with adjoining dressing rooms, was provided, with an orchestra pit below the stage. The proscenium was decorated with timber fretwork incorporating transparent lining which concealed electric lighting. The ceiling and walls were lined with timber lattice.
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Lafayette Theatre Lafayette Circus Theatre emerged in Manhattan in 1825 as an equestrian circus arena; in 1826–1827 it was rebuilt into a conventional theatre hall with an orchestra pit and advanced rigging.Whitham, p. 126 It boasted equipment for both equestrian (Hippodrama) and aquatic drama.Banham, p. 1136 The theatre was destroyed by fire in 1829.
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The square gold proscenium is wide and high. The main curtain of custom-woven gold damask is the largest tab curtain in the world. Above the proscenium is an untitled bronze sculpture by Mary Callery. The orchestra pit is very large and open to the auditorium, with the capacity for up to 110 musicians.
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There is a plush 380-seat Lee Foundation Theatre with a rotating central platform on stage, an adjustable orchestra pit with superb acoustics and two Steinway Model D grand pianos. The school's famous Studio Theatre or "Black Box" is also located here. Other facilities include a Recital Hall, soundproof Music Studios and Dance Studios.
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"In his youth, he played in the local theater's orchestra pit alongside, at times, Henry Mancini, Billy May and Errol (sic) Garner." learning composition and arranging there from the theater's pit orchestra conductor, Max Adkins (as did Mancini and another notable Pittsburgh native, Billy Strayhorn)."Composers / Arrangers". Pittsburgh Music History. Retrieved 2014-04-15.
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This 1971 construction seats 378. It hosts jazz concerts, ensemble performances, ballets, operas, musical theatre shows and drama productions. This hall features a proscenium thrust stage, a hidden and exposable orchestra pit, and a retired pipe organ that sits stage left. Patricia Corbett Theater received new seats and curtains during the renovation in 2017.
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Big bands such as Guy Lombardo and Stan Kenton played at the Blackhawk on many occasions On Christmas day in 1920, 10,000 people turned out to see the opening of Davenport's new, elegant theater, the Capitol Theatre. The Capitol Theatre featured a classical interior, an orchestra pit and a full-scale theater organ.Svendsen, p.
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It holds up to 815 people, and the orchestra pit is large enough to fit 60 musicians. MacMillan's sons, Keith and Ross MacMillan, established the Sir Ernest MacMillan Memorial Foundation. To this day, the annual awards grow up to 10,000 dollars for "advanced education at a graduate level". Ernest MacMillan died in Toronto in 1973.
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John Fugelsang jumped into the orchestra pit after Miller to check on her. Civil rights lawyer Gloria Allred who was at the show, also came to her aid. Fugelsang and Frangela finished up the performance without her. Miller missed the next day's radio show, but was back on the air on Tuesday July 26.
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This was the third Zappa album released in a period where he needed to use a wheelchair. Zappa was unable to tour after being assaulted and pushed offstage into an orchestra pit during a concert on December 10, 1971 at the Rainbow Theatre in London, UK.Miles, Barry. "The Rainbow Theatre Incident." Zappa Wiki Jawaka. N.p.
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The stage is deep by wide, with a proscenium opening. There is room for a total of 30 wheelchairs and 31 companion seats. Fly House is 65' clear from floor to the loading gallery with 62 line sets capable of lifting 2000 lbs each. A concealed orchestra pit is located at the front of stage.
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MHS completed an extensive remodel; Demolition and construction began in May 1999 and was completed in August 2001. Over were renovated and more than were added during this 30-month project. The result is a facility. The new MHS theatre seats 473 and includes an orchestra pit, excellent lighting, fine acoustics, and views from every seat.
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The theater's original chandeliers were rebuilt and redesigned with new crystals. Once a year, all of the chandeliers are lowered to be cleaned and re-lamped. The orchestra pit is powered by a hydraulic lift and is able to hold 80-85 musicians. A new five story wing was also added in the back of the building.
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This renovation coincided with major improvements to the church sanctuary.Miller, Sarah Bryan, "Union Avenue Opera Puts Itself In A Hole ... A 6-Foot Orchestra Pit." St. Louis Post-Dispatch 24 Jun 2007. That season marked the welcoming of guest conductor Kostis Protopapas, of Tulsa Opera, to conduct a double bill of Suor Angelica and Gianni Schicchi.
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Suspended below the elephant is a large quatrefoil-shaped censer that conceals speakers. The backstage area originally had 18 performer dressing rooms, offices and a broadcast booth. In the basement were staff dressing rooms, workshops, an infirmary, screening room and storage rooms. The orchestra pit and sections of the stage can be raised and lowered on hydraulic lifts.
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During the 1984–85 school years the roads connecting the school to Relation Street and to 20th Ave were completed. In 1986 a bond issue passed that allowed for the cafeteria, orchestra pit, and shop building that connects the gym and main building to be built. It also approved the construction of the current football stadium and track.
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The stalls has improved legroom and no centre aisle, improving sightlines. The theatre is offering patrons the opportunity to sponsor a seat, with the price including a membership to the Friends scheme that the theatre operates. Other restoration work includes new carpet within the auditorium, new orchestra pit railing, and preparations for the installation of air conditioning.
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He wrote several instructional books for the banjo, guitar, and ukulele. In 1965, Reser died of a heart attack in the orchestra pit of Manhattan's Imperial Theatre while warming up for a Broadway stage version of Fiddler on the Roof. He was inducted into the National Four- String Banjo Hall of Fame, a museum in Oklahoma, in 1999.
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The location previously operated as the Wintergarden Theatre cinema complex from 1924 until it closed in 1973 and was demolished in 1981. The original building was designed by Ballantyne and Hare of Melbourne. Hall and Prentice in Brisbane provided local design assistance. The theatre featured a Wurlitzer pipe organ which could be raised and lowered from the orchestra pit.
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The main theater contains large stage facing floor and balcony seating. Using the main floor and balcony, seating capacity is 1,517 people. An orchestra pit sits five feet below the stage and can hold 25 musicians. The theater has a professional lighting and sound system, a large movie screen and projection room, and a historic pipe organ.
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It is known as a pure concert hall, providing an intimate setting with no stage curtains, orchestra pit, fly space or backstage wings. It houses The Bryan Concert Organ, which is a rebuilt Casavant Frères pipe organ. The pipe is made up of 6214 pipes. It is the home to the Jacksonville Symphony and the Jacksonville Symphony Youth Orchestra.
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The base theater is located in the rear of the building and was designed to seat 1,200 people. It hosted the world premiere of I Wanted Wings, which had been filmed at Randolph. Its original design had an orchestra pit below the stage. In 2012, the theater was operating at a loss and stopped showing 35 mm film.
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The hall currently has a seating capacity of 2,389 which can be expanded to 2,509 when seats are placed in the orchestra pit and proscenium boxes. An 1860 account by Runge mentioned that the full auditorium, then nearly 3,000 persons, could be emptied in four minutes in "great calmness and order" owing to the wide corridors and stairways.
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The spare but striking design featured curved walls paneled in mahogany. It had a three-tiered metal chandelier weighing six tons, and a ceiling studded with circles decorated in half-relief with mythological figures. Three shallow mezzanines provided an unobstructed view of the stage. The large stage contained turn-screw lifts as did the orchestra pit.
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Several changes were made during the renovation. The vertical marquee which had marked the theatre's presence from 1926 to 1980, was removed, the orchestra pit and auditorium seating were rebuilt, the dressing rooms moved, and the technical systems updated. However, the furniture, fixtures and interior signage were retained. Even the paint was carefully restored to its original luster.
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On May 1, 1970, The Liberation of L.B. Jones was playing at the Paradise Theater in the Bronx, when a brass pipe bomb went off in the orchestra pit. No one was injured, and the papers noted in their stories on the bombing that the audience refused to leave, insisting that they wanted to finish the movie.
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The town has a bakery. Humble Inn & Hotel has built seven new rooms in 2008 and can accommodate parties of up to 150 people.Humble Kro Music Efterskolen in Humble has many rehearsal rooms, a recording studio, and a fully equipped orchestra pit to the concert and theater. Schools organize the annual Christmas concerts, gospel concerts, musicals, etc. there.
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By the 1960s attendance started to drop and the Pantheon was in need of many repairs, so after forty years of shows, the Pantheon closed in 1961. All twelve-hundred seats were removed and the orchestra pit was filled with sand and concrete. They also hung a fake dropped ceiling throughout the entire theatre and rented the building out for almost fifty years.
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The building, which consists of three floors, encompasses an area of nearly 14.500 m2. The concert hall stage includes a stage lift which allows for the formation an orchestra pit used in operas. Two Steinway concert grand pianos are available. The interior walls of the concert hall are coated with movable acoustic panels, which make the concert hall a recording studio as well.
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Lottie intercepts the message and goes over first, in costume, AWOL from the performance. When Blondie arrives, Larry tells her he loves her and is going away. Lottie flies at her, and the two women carry their argument onto the stage. When Lottie lets go of her hand during a crack the whip production number, Blondie is thrown into the orchestra pit.
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Page 82-83. In addition to housing the communities’ musical groups, such as the Bakersfield Symphony, it also contained a scenery loft and an orchestra pit, to facilitate Broadway musicals and ballets. By 1976, Bakersfield began plans for the facilities' first major expansion. The plan would include construction of a convention center, which would be intertwined with the existing theater.
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Florence holidays The theatre seats an audience of 806, including 6 reserved for wheelchairs. The stage is 14 metres deep and 18 metres wide, with a slope of 5%. The orchestra pit measures 16 metres by 4 metres. The proscenium is 12 metres wide and 17 metres high and 2 metres deep, and the stage is raised from the floor by 1.5 metres.
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Valley Youth Theatre performs in its renovated facility in Copper Square in downtown Phoenix, Arizona. An old storefront was gutted in 1998 and rebuilt to include a proscenium stage with orchestra pit, 202 seat continental-style audience seating, a lobby with box office, and "backstage" areas: a lighting and sound booth, small scene and costume shops, and rehearsal and dressing rooms.
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Much to the audience's amusement, he misses his cue and screws up the entire production. He ends his embarrassing performance by falling into the orchestra pit, prompting a livid Cecil to order him to leave. Doris, feeling for her estranged husband, rushes backstage to reconcile with him. Returning home, they find out that Leonard has been offered a lucrative wrecking contract.
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It also upgraded restrooms to make them ADA compliant. Work backstage included a new stage lighting system, expansion of the orchestra pit, and a mechanical lift in the pit floor allowing it to be raised to stage level when needed. The lobby areas of the theater feature many works of modern art, including pieces by Jasper Johns, Lee Bontecou and Reuben Nakian.
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He was in his 60s and not used to the San Carlo's system of conducting with a baton from the orchestra pit. In the other opera houses in Naples it was still customary for the conductor to stand on the stage and leave the leader of the violin section to mark the tempo.Florimo, Francesco (1871). Cénno storico sulla scuola musica di Napoli, Vol.
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The National Auditorium was conceived as a stage for all art forms. It has a lighting system, an acoustic shell, an orchestra pit, satellite communications, possibility for simultaneous translations in up to four languages and 526 seats. The auditorium has hosted several concerts of classical music, literary contests, beauty contests, audiovisuals, conferences, seminars, scientific and cultural congresses, and theater productions.
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This was its first "real" theater, with a 500-seat house, orchestra pit, professional lights, overhead fly space, and even curtains. It produced Guys and Dolls with a full orchestra of over 20 musicians and full scale sets. A minimal $5 admission was charged for the first time. The production drew a record audience of 800 people for four shows.
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It underwent renovations again at the end of 2017 and the beginning of 2018. New chairs were installed, taking the seating capacity up by four - from 488 to 492. Wider seats were also added as well as a wheelchair lift for backstage. The main auditorium has a seating capacity of 492 and features an orchestra pit seating up to 38 musicians.
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The orchestra pit is equipped with two electrically driven stage lifts, with a loading capacity of 500 kg/m2. It is adjustable in height from 0 to 2.65 meters below stage level. The red velvet house curtain is hydraulically drawn and liftable. The gather velocity is 0.15 to 3.0 m/s, the lift velocity can be up to 2.0 m/s.
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The Ngaio Marsh Theatre will be open from July 2019, within Haere-roa, the University of Canterbury Students’ Association building at 90 Ilam Road in Christchurch, New Zealand. The theatre is available for short-term or long- term hire. Full AV and technical facilities and orchestra pit are available. A retractable seating structure allows for capacity of 330 seated and 1000 standing.
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Teatro di San Carlo in Naples, the world’s oldest working opera house. An opera house is a theatre building used for performances of opera. It usually includes a stage, an orchestra pit, audience seating, and backstage facilities for costumes and building sets. While some venues are constructed specifically for operas, other opera houses are part of larger performing arts centers.
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Thus, Süreyya Pasha's dream of an opera house came true after 80 years. The theatre stage has a width of 14 metres, depth of 10 metres and height of 4.90 metres, with an orchestra pit added newly. There are 14 dressing rooms that were built without changing the architecture of the building. The audience capacity of the opera house is 570 seats.
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The Opera Hall has 1015 seats, divided into three areas and designed to recreate the intimate experience of Italian opera houses. The orchestra pit is and able to accommodate up to 100 musicians. The central stage provides computer-controlled side, ice, and ballet platforms in addition to the main large-scale platform. It houses 2 VIP and 15 common dressing rooms.
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From 2000 to 2003, it was used as a temporary venue for the Seattle Opera and Pacific Northwest Ballet during construction of McCaw Hall, the new opera house. $6 million of improvements were put into the building to house the opera. New additions like heating and cooling systems, orchestra pit, and carpet were installed. The general infrastructure was reworked as well.
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Several of its actors, such as Victory Jory, Gladys George, and Johnny Dilson, went on to successful film careers. In 1915, The Shubert began to play movies, accompanied by a 40-piece pit orchestra. In 1918 the flu epidemic closed all Minneapolis theaters. The Shubert remodeled; new lights were installed, the orchestra pit was expanded, and the theater was repainted.
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The Seifert Performing Arts Center (SPAC) is a first-class performance and arts education complex. The facility features a 711 seat auditorium, state-of-the-art media console and equipment, half-fly system, full orchestra pit, and dressing rooms with audio/visual monitors, ensuring that performances are both enjoyable and effectively produced. The space is named after Charles Seifert, a local business owner.
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The timber stage is approximately one metre above the hall floor. It has a raked floor and has been extended and possibly covers a former orchestra pit. The dressing rooms at either side of the stage have concrete walls, remain largely intact and follow the original plan. Steps lead down from this level to toilets which also can be accessed from the hall.
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Palais Garnier orchestra pit plan Sometimes when an opera or musical is being performed in the theatre and there is a need for live music the orchestra pit will be lowered all the way down and the musicians will play down in the pit in front of the stage. This way the director of the orchestra is able to see what is happening on stage and has a better feel for when to start and stop the music. Sometimes there are very precise cues that director needs to give for certain sound effects and it is crucial that they are done at the right time. Having the orchestra play in the pit creates a problem because often there is a lack of space and the sound quality suffers because instruments bleed into other instrument’s microphones when everyone is squeezed close together.
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This venue is the most widely used performance space in the Newman Center. It is known for its great acoustics, which were designed by Kirkegaard Associates. Gates Concert Hall has a large performing stage, an orchestra pit, a Wenger orchestra shell used for full symphony and chamber orchestras, and tiered seating for the audience. The HVAC system for the Hall is underground, thus isolating mechanical noise.
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The numbers on the face were painted silver and the clock hands were gold painted wood. The face was later painted black to be easier read from Grand Avenue. Denfeld High School's auditorium was built at a cost of $25,000 and is another of its most prominent features. It can accommodate nearly 2000 people in the audience, 200 on stage and includes an orchestra pit.
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It is broken off when the call- boy warns Bentley that he is due back in the orchestra pit. The scene ends with a blackout. The lights come up again revealing the Peppers getting into their white ties and tails for their second number. The theatre manager enters, clearly briefed by Bentley, and a further row develops, interrupted by Mabel Grace complaining of the noise.
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The Grand Theatre is a historic theatre located in Kingston, Ontario, Canada and is currently one of that city's major performing arts venues. It has been the home of the Kingston Symphony since 1964. The main theatre seats 776 people, and has a proscenium stage and an orchestra pit. The building also houses a smaller black box theatre, The Baby Grand, which seats 105 people.
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The federal government approved $1.2 million towards the renovation in 1989. The renovations preserved many of the unique features of the original theater, and added considerable new space to the facility. A modern heating and air conditioning system was added. The stage was expanded by the construction of a twelve foot apron, and the original orchestra pit was enlarged to accommodate more complex musical productions.
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The act was mainly a comedy sketch. Myra played the saxophone to one side, while Joe and Buster performed on center stage. The young Keaton would goad his father by disobeying him, and the elder Keaton would respond by throwing him against the scenery, into the orchestra pit, or even into the audience. A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing.
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The main entrance features student sculptures selected by contest. An "Avenue of the Arts", with gallery space for more student artwork, links the 750-seat main Corbett Theater, the 350-seat Mayerson Theater, and a 120-seat black box theater. The Corbett Theater has an stage, a hydraulically operated orchestra pit, and is acoustically isolated from the rest of the building. An outdoor amphitheater is also planned.
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The orchestra pit could hold a 30-piece orchestra. There was also a "flying" stage which could be raised or lowered or moved about above the main stage. In July 1928, the theatre appeared on the front page of the newspaper,The Oregonian July 30, 1928 figuring in an unusual robbery. A young man, Robert Nolan, had lived in Southern California for a time.
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In addition to writing the play, Kingsley was director of the production. The cast included Joseph Downing as Baby Face Martin, Marjorie Main as Mrs. Martin, and Margaret Mullen as Kay. The New York Times' Peter Flint recalled in Kingley's obituary: “To bring authenticity and immediacy to the Broadway production of "Dead End," Mr. Kingsley used the orchestra pit of the Belasco Theater as the East River.
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Seating capacity was 1,400 people until 1988, when renovations to reinstate the orchestra pit and to create seating for handicapped persons reduced the seat count to 1,325. The developers of both the Blackstone Hotel and Blackstone Theatre were Tracy C. Drake and John Drake, better known as developers and proprietors of the Drake Hotel.Berger, Miles L., They Built Chicago, Bonus Books, Inc., 1992, p.
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In the last performance of the premiere series in 1882, Richard Wagner personally took over the baton from Hermann Levi in Act III, unnoticed by the audience, since the overbuilt orchestra pit of the Festspielhaus made the conductor and the orchestra invisible to the public. It was the only time the composer conducted in his house himself."How wonderful! - the King longs to hear about Parsifal".
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Also construction was completed on the Thomas Healy, S.J., Theater and Classrooms. This was the first major renovation since the addition of St. Ignatius Hall. The theater, which also accommodates school Masses, features an orchestra pit with hydraulics moving it up and down for various uses, including the transportation of heavy equipment. The workout rooms and locker rooms were also altered in this remodel.
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The theater's early history included the showing of silent movies with live orchestral accompaniment; the stage was eventually extended over the orchestra pit. It was the site that premiered silent films produced by Maine native Holman Francis Day (now apparently lost). It had a nominal seating capacity of about 1200. It was one of two theaters built on Water Street; the other burned down in 1983.
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The stage features a hydraulic lift for the 30-foot (9 m) deep orchestra pit large enough for 84 musicians. The theatre is surrounded by a thick concrete wall on the perimeter for acoustic isolation. The Centre's first resident company is the Atlanta Opera, which relocated from the cavernous Atlanta Civic Center in downtown Atlanta. The Opera's first production in the new facility was Puccini's Turandot.
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The CAL Center is a building adjacent to Reedsburg Area High School that hosts music and drama performances, as well as other events. The 598-seat auditorium opened in 1999. The CAL Center was funded entirely by private donations by individuals and local businesses that totaled over 2.3 million dollars. The auditorium includes a control booth, in- house sound console, and an orchestra pit.
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It had an orchestra pit, stalls, two balconies and side aisles. The 1800 seat Concert Hall was designed for orchestral concerts, choral performances, chamber music, recitals, popular entertainment and ceremonies. A Klais Grand Organ, featuring 6500 pipes, was built into the stage area. Its "shoe box" form, designed to enhance natural acoustics, incorporated an orchestral pit, stalls, single balcony, side galleries and side aisles.
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The theater's stage can be used for a variety of events, including plays, choirs, and smaller orchestras. In front of the stage is an orchestra pit which can hold approximately 30 musicians and instruments. Minimal on-stage lighting and several spotlights, located throughout the theater's main hall, are available. A house sound system, separate from the system used for motion pictures, is also available.
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A Liza Minelli performance celebrated the reopening. The upstairs balcony was renovated in 2011, with new restrooms, Art Gallery space and concessions. In May 2011, the Theatre officially changed its name to Mayo Performing Arts Center, completing a three-year transition, honoring the leadership of Bud Mayo. In 2014, the MayoPAC completed renovations on a new orchestra pit, a fly-rail system and new dressing rooms.
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One of the most memorable performances for the Tyne Theatre & Opera House following its restoration in the 1970s was in the return of opera to the theatre with Tosca on the evening of 6 May 1983, with Plácido Domingo as the lead. The Northern Sinfonia of England filled the orchestra pit and was conducted by Robin Stapleton. At this time, the Bistro Bar was renamed ‘Tosca’s’.
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Earlier in theatre history from 1500–1650 the orchestra pit was also called the yard and it was a lower level that lower-class members of the audience would stand to watch the show. It was generally very crowded and hard to see the full stage. The amount of space in the yard varied with different stages. Everyone else would sit in the normal seating where the whole stage was visible.
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Before the 19th century the conductor stood at the stage edge, facing the audience and orchestra, with his back toward the onstage performers as shown in the Palais Garnier orchestra pit plan. During the late 19th century the typical conductor location changed. Now the conductor stands in front of the first row of audience, with his back to the audience, facing the orchestra and facing the performers on stage.
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One of the nation's first "art houses", the theatre featured an art gallery and a coffee bar lounge. Popcorn was not served. When asked if the theatre was going to have an orchestra pit, Balaban reportedly replied, "That's over." Instead of offering a bill of multiple films, the theatre showed only one film, combined with "The Esquire Hour", a section of shorts, cartoons and a quote for the day.
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It had a capacity of 750 students and a "crowded capacity" of 900. The 1930 building also featured an auditorium which, according to the 1931 Round-Up publication, was the largest in western Nebraska at the time. Eventually known as the Little Theater, it originally contained both bleachers and wooden seats, together providing a capacity for 1,100 people. It also had an orchestra pit, a balcony, and side dressing rooms.
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The main entrance, just north of Georgia Tech's Student Center. The Robert Ferst Center for the Arts, located in Atlanta, Georgia, is Georgia Tech's theater and arts center and is adjacent to DramaTech, the student-run theater. It contains a 969-seat auditorium that features a proscenium stage, orchestra pit, and theatrical lighting and sound systems. The Center also features visual arts galleries for changing exhibits of contemporary art and photography.
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Within the school district, each high school was given one main facility to serve all the other high schools. Mountlake Terrace holds the largest theater, with over 300 seats and an orchestra pit; and Edmonds Woodway has the official football stadium, serving as home turf for Mountlake Terrace, Edmonds, Meadowdale, and Lynnwood. The stadium is also the only stadium to host all the football, soccer, and track meets.
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The building seats 1,012 in the orchestra, 48 in upper boxes, 78 in the loge, 312 in the upper balcony, 312 in the lower balcony, and 104 in removable orchestra pit seating. Therefore, the Tivoli can hold more than 1,750 people. The stage's depth is and long. The ornately decorated silver and gold proscenium's width is 47 feet and 8 inches (14.3 meters and 20.3 cm) and is high.
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The proscenium arch can be adjusted to different measurements. The orchestra pit can seat up to 100 musicians. The pit operates mechanically, with three movable decks allowing the orchestra to be seated on different levels and creating a proscenium apron when raised to stage level. Nowadays, the machinery below the stage still operates on a low-pressure hydraulic system, which has been regularly updated since it was installed in 1962.
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The Romans constructed a proskenion that covered part of the orchestra with a hyposkenion below it. The cavea doesn't show evidence of renovation so it can be assumed that they remain original. (Lavy)272x272pxAnother notable feature is the Charonian stairway. Actually more like a tunnel, the stairway lead underground from the backstage to the orchestra pit and is presumed to be used to "sudden appear" among the actors in play.
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Two years later it was acquired by Merseyside County Council. During the following two years a total of £680,000 was spent on improving the back stage facilities, and extending the stage and orchestra pit. The theatre underwent a further major refurbishment in 1999; this included increasing the size of the stage and improving the facilities for the audience. By 2002 the theatre was owned by Clear Channel Entertainment.
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The Dunn Center for the Performing Arts is a venue for the performing arts at North Carolina Wesleyan College in Rocky Mount, North Carolina. It hosts the 1,180 seat Minges Auditorium, Powers Recital Hall, The Mims Gallery, Carlton Board Room, and Garner Lobby banquet hall. Minges Auditorium is one of the largest performing arts facility in eastern North Carolina. The stage has full technical facilities, including fly space and orchestra pit.
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The Robert E. Jacoby Symphony Hall (former known as the Robert E. Jacoby Theater) is a concert hall primarily used for orchestral performances. The hall is modeled after the Wiener Musikverein in Vienna, Austria. It is designed in a shoebox shape, similar to many European venues. It is known as a pure concert hall, providing an intimate setting with no stage curtains, orchestra pit, fly space or backstage wings.
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The Art originally opened in 1924 as The Carter Theatre with 636 seats, an orchestra pit and pipe organ. It was constructed in a modest vernacular style with "orientalizing" touches reminiscent of Grauman's Chinese Theatre in Hollywood. Two storefronts flanked the theater. In 1934, the theater was remodeled in art deco streamline "moderne" style by Schilling & Schilling after the 1933 Long Beach earthquake and renamed The Lee Theatre.
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A two-level lobby could be found outside the auditorium for simple cocktails or gathering areas during intermissions. Graduation rites of the College of Business and Economics, Cultural Arts Office-sponsored activities, and the Annual Academic Recognition Rites are held in the auditorium. Several plays, concerts and ceremonies have also been held in the auditorium since its completion. The auditorium features a traditional proscenium stage as well as an orchestra pit.
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The original interior of Englert Theatre as shown in an advertisement in the 1918 Iowa City High School annual (yearbook). It features the early orchestra pit, and original box seating along the sidewalls. When opened, the Englert seated 1,079 with side aisles, and without a center aisle. College students and faculty and town residents often attended performances; the theater was the only of its kind in Iowa City.
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The result was an auditorium built in the classical style. With its stalls and balconies, it has 1,301 seats. The orchestra pit has room for about 100 musicians. The House is shared by opera, ballet, musicals and operettas so the architects had to meet a number of challenges. It is a large house – 160 metres long and 85 metres wide at its widest – and the building is 32 metres high.
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On November 14, 1996, he had a near-fatal fall into an orchestra pit while he was performing at the Heymann Performing Arts Center in Lafayette, Louisiana. This ended his touring career and he underwent several surgeries thereafter. McDaniel never recovered from his injuries. On June 16, 2009, McDaniel suffered a heart attack, putting him in a medically induced coma in a Nashville area hospital, according to The Tennessean.
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The main theatre housed a revolving stage Wurlitzer organ which could be raised from the orchestra pit to provide interval music; these have survived intact. It closed in 1960, reopening in 1963 as a training school for the Covent Garden Opera. It subsequently became a bingo hall. It was grade II listed in 1991. Limehouse Town Hall is at No. 646, constructed in 1879 by A. and C. Harston.
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With seating for over 1,100, the main auditorium is designed for classical music with a ceiling that can be lowered in accordance with the required acoustical level. For theatrical performances with a lowered ceiling, it seats 850. The size of the stage—up to —and the positioning of the orchestra pit can also be adjusted. The smaller hall which is suitable for chamber music or children's theatre has seating for 233.
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The theater also has a hydraulic orchestra pit, adding to its suitability for virtually any performing arts event. The auditorium itself is drum-shaped and is decorated in reds and maroons with gold and silver accents. A large, 2-ton Austrian crystal chandelier hangs over the auditorium. The theater also boasts a staircase crafted from white Italian Carrara marble and a proscenium arch highlighted in gold leaf, which frames the stage.
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One of these was the Gerrards Cross Operatic Society who used to perform regularly before the Second World War. The cinema was opened in the days before the widespread exhibition of talking pictures, so it was built with an orchestra pit at the front of the auditorium and each performance was accompanied by musicians. The entrance foyer was fairly small and octagonal. It had a high ceiling and a terrazzo floor.
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Although constructed as a movie theater, the Russell did have dressing rooms for live performers and an orchestra pit. The auditorium was decorated as a Mediterranean garden complete with Lombardy poplar and literary busts set into wall niches. A rainbow would appear over the stage at the end of the movie. Col. Russell operated the theater until 1935 at which time operations were turned over to the Schine group.
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The external facade of the building replaced the old cladding with new materials, new windows, stained glass windows, doors, gates, repaired exterior porches and stairways, and an increased space in walls. Fire prevention measures have been provided in accordance with the new technical regulations. Another add on was the orchestra pit with three hoists and platforms for the storage of musical instruments. The building has been adapted for people with disabilities.
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The Rowland Theater uses a three-tier platter system coupled with a 35mm projector. The projector itself supports both Flat and Scope aspect films via interchangeable lenses. Sound is provided by a Dolby SR Processor. Speakers are located on stage behind the screen (center, left and right channels), in the Orchestra Pit (subwoofer), and along the sides of the theater walls (surround channels) on both the ground floor and balcony.
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Upon James' graduation and subsequent move to London in 1999, he and Richard formed Stars In Battledress, naming themselves after the British military entertainment organisation. Unsuited to the environment of touring rock bands or indeed most rock venues, Stars In Battledress concentrated on playing small or acoustic-orientated venues where their drum-less lineup (generally Richard playing semi-acoustic guitar and James playing harmonium and digital piano) would work better. (This is a practise which they have continued to this day - appearing at smaller venues such as Toynbee Hall and Lark In The Park and sympathetic underground clubnights such as The Orchestra Pit Orchestra Pit billing of Stars In Battledress in June 2003, retrieved 23 October 2008 \- although they have notably played the larger capacity University Of London Union and The Garage, London in support of Cardiacs). The Larcombes had by now befriended their old musical hero - Cardiacs leader Tim Smith - and he was later to produce the recording sessions for their debut album.
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"Noted Comedian Weds", Montreal Gazette, 1 December 1938, p. 7. At Christmas, he fractured three ribs and bruised his spine when he accidentally fell into the orchestra pit while appearing in the 1938–39 pantomime Robinson Crusoe in Birmingham."George Robey: More Restful Night But Still In Pain", Derby Daily Telegraph, 4 January 1939, p. 1. He attributed the fall to his face mask which gave him a limited view of the stage.
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The Nancy Lee and Perry R. Bass Concert Hall opened in 1981 on the site of the former Clark Field home of the Texas Longhorns Baseball team from 1928-1974. It is the largest of the five theaters for Texas Performing Arts. Bass Concert Hall routinely attracts top tier performers and full-scale productions such as Broadway Across America. The hall seats 2,900 and has an orchestra pit capable of holding 100 musicians.
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London, 1912, and the famed Ballet Russes have come to London to perform. Anticipation is high, for Diaghilev's troupe is renowned throughout Europe. At the end of their famed performance of Thamar at the Royal Opera House, the Georgian queen stabs her prince to death and throws him into the river. But life mirrors art when the prince is found truly dead, stabbed through the heart in the orchestra pit below stage.
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The theater's stage innovations included a rising orchestra pit which could accommodate an orchestra of 110 and a Kimball theater pipe organ with three consoles which could be played simultaneously. The film projection booth was recessed into the front of the balcony to prevent film distortion caused by the usual angled projection from the top rear wall of a theater. This enabled the Roxy to have the sharpest film image for its time.Hall, p. 87.
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The theatre auditorium is a 300-seat proscenium-style house. The seating area is raked from back to front, allowing patrons a full view of the stage from any seat in house. The stage floor is raised above the audience floor. The facility upgrades from 2007 gave the theatre a digital sound console, wireless mics capabilities, an enclosed orchestra pit with a removable top, updated lighting inventory, and many more technological upgrades.
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The city's major performance centers and theatres emanate from the Fox Theatre and Grand Circus Park Historic District and continue along Woodward Avenue toward the Fisher Theatre in the city's New Center. The Fox has 5,048 seats (5,174 seats if removable seats placed in the raised orchestra pit are included). It is the largest surviving movie palace of the 1920s and the largest of the original Fox Theatres. The Fox was fully restored in 1988.
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The Detroit Fox is one of five spectacular Fox Theatres built in the late 1920s by film pioneer William Fox. The others were the Fox Theatres in Brooklyn, Atlanta, St. Louis, and San Francisco. Architect C. Howard Crane designed the Fox with a lavish interior featuring a blend of Burmese, Chinese, Indian and Persian motifs. There are three levels of seating, the Main Floor above the orchestra pit, the Mezzanine, and the Gallery (balcony).
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The accompaniment instrumentalists and/or singers can be provided with a fully notated accompaniment part written or printed on sheet music. This is the norm in Classical music and in most large ensemble writing (e.g., orchestra, pit orchestra, choir). In popular music and traditional music, the accompaniment instrumentalists often improvise their accompaniment, either based on a lead sheet or chord chart which indicates the chords used in the song or piece (e.g.
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Later that year, Moerlen briefly joined Magma as second drummer. Following Mike Oldfield's 10th Anniversary tour in 1983, he joined the Swedish progressive/symphonic band Tribute (1985–87). PMG reformed for two albums and tours in the late 1980s. After spending several years as orchestra pit musician for various musicals, he returned to active service in 1997 when he joined the British jazz-rock outfit Brand X for international touring in 1997.
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The Munich Art Theatre (Münchner Künstlertheater) was the first German theater constructed in the art nouveau style. It was designed by Max Littmann and opened in 1908. The main initiator was the journalist and dramatist Georg Fuchs, who in 1907 founded a society in Munich, the Verein Münchner Künstlertheater, with the expressed aim of building a theatre according to ‘artistic principles’. The theatre was built with a shallow stage, apron, and no orchestra pit.
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In addition, this opera featured an actor reciting ancient Egyptian texts in the language of the audience. Akhnaten was commissioned by the Stuttgart Opera in a production designed by Achim Freyer. It premiered simultaneously at the Houston Opera in a production directed by David Freeman and designed by Peter Sellars. At the time of the commission, the Stuttgart Opera House was undergoing renovation, necessitating the use of a nearby playhouse with a smaller orchestra pit.
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The stage had a proscenium width of 44 feet and an orchestra pit for 15 musicians. Behind the scenes were 10 dressing rooms for the artistes. An innovation was the sliding roof which was seldom opened but when it was would cause clouds of dust to drop on the audience. The Chiswick Empire opened on 2 September 1912 with a Variety bill that included some of the most popular performers of the time.
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The first phase of renovations to the Vision Theatre included upgrades to the lobbies, restrooms, office space, and classrooms in 2011. Phase II of the renovation began in March 2018. The rehabilitation of the remaining portions of the theater includes the historic refurbishment and expansion of the theater and auditorium, and the addition of an orchestra pit and a fly loft. The grand reopening of the Vision Theatre is planned for 2021.
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Fairfax continued its success in 2015 with nine nominations, again including Best Musical, for its production of "Big: the musical". Fairfax has an orchestra pit that can be covered and uncovered, but it is normally kept in the house floor position due to safety concerns. For the run of The King and I in 2007, however, the pit was opened. It was then closed again, and the orchestra has played at house level since.
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The Performing Arts Center was built as part of an addition to the school in 2002 and features approximately 700 seats. The tone of the theater is dominated by red and black, the school's colors. In addition to the stage and seating areas, the theater also features an orchestra pit, backstage rooms, and balconies. The center hosts high school plays, middle school plays, musical performances, performances from outside groups, assemblies, presentations, and award ceremonies.
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The modern orchestra pit, which can be closed, accommodates 45 musicians. The seats are maplewood; carpeting and walls have a muted color scheme—blacks, charcoals and grays. Kamin felt the modest palette is appropriate for a modest structure that attempts to complement the exuberant neighboring pavilion. alt=A close-up of entertainers on a stage sharing recognition for a performance The proscenium is high and is flanked by steel reflector towers to help focus sound.
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Richard Wagner placed great importance on "mood setting" elements, such as a darkened theater, sound effects, and seating arrangements (lowering the orchestra pit) which focused the attention of audience on the stage, completely immersing them in the imaginary world of the music drama. These concepts were revolutionary at the time, but they have since come to be taken for granted in the modern operatic environment as well as many other types of theatrical endeavors.
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Shea's Hippodrome was a historic film and play theatre in Toronto, Ontario, Canada. The Hippodrome was located in downtown Toronto, at the northwest corner of Queen and Bay streets (now Nathan Phillips Square). At its opening in 1914, it was the largest movie palace in Canada, and one of the largest vaudeville theatres in the world. The Hippodrome included 12 opera boxes, a Wurlitzer organ, as well as a full-size orchestra pit.
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The bottom edge of the lattice is finished with shallow arches trimmed with a double stripe painted in black. At the top of the side walls is a broad band of decoration achieved by picking out a pattern within the lattice with black paint. The screen is covered with long curtains and is surrounded with fibro- cement panelling that frames the screen, now covering the proscenium. The orchestra pit has also been boarded over.
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After the 1983 world premiere at the Palais Garnier, Saint François was not staged for almost a decade. The opera was presented on stage again by the 1992 Salzburg Festival (at the Felsenreitschule), directed by Peter Sellars with Esa-Pekka Salonen conducting the Los Angeles Philharmonic in the orchestra pit. This production was revived in 1998, again at the Salzburg Festival. Productions at Oper Leipzig (1998) and at the Deutsche Oper Berlin (2002) followed.
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In January 2019, AISJ moved to its new purposefully-built campus in the up-and-coming Mohammadiyah District. The campus includes strategically designed classrooms with learning centers and group work areas, spacious Early Childhood classrooms, and fully-equipped science labs. There are two large Library areas, each with private meeting spaces and large group project areas. The 650-person theatre-style auditorium features a performance stage, an orchestra pit, and an underground practice room.
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It comprised a raked auditorium, orchestra pit and Wurlitzer organ which can be raised and lowered during performances. The organ was made for Théâtre de la Madeleine, Paris. It was purchased by Sir Julien Cahn for £20,000 and enlarged when it was installed. The house was extensively remodelled over the next decade under the direction of Sir Charles Allom, principal of arguably the finest of the large interior decorating concerns, White Allom Ltd.
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In February 1893 Harry Rickards, the vaudeville showman, took over the lease of the Garrick Theatre renaming it the Tivoli Theatre. He made some changes to the building, raising the orchestra pit and installing another sliding roof and opened on 18 February 1893. The building was destroyed by fire in 1899. It was rebuilt after the fire with a new building behind the remaining facade of the former theatre and reopened on 12 April 1900.
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In the early 1980s the stage was permanently extended over the orchestra pit, bringing on stage action closer to the audience. This extension lasted until the building of the 10-story Jeannette and Jerome Cohen Community Stage in 2000. During the 1960s production of the musical Mr. President, President Harry S. Truman made a guest appearance in the opening night show. An attack of appendicitis forced Truman to leave Starlight by ambulance during the intermission.
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La Scala (as it came to be known) soon became the preeminent meeting place for noble and wealthy Milanese people. In the tradition of the times, the main floor had no chairs and spectators watched the shows standing up. The orchestra was in full sight, as the orchestra pit had not yet been built. As with most of the theatres at that time, La Scala was also a casino, with gamblers sitting in the foyer.
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The rear walls of the auditorium are fitted with motorized acoustic curtains that can be adjusted to better suit the type of performance. To further improve acoustics, a large three piece orchestra shell ceiling extends from the stage proscenium. The entire mahogany structure can be adjusted with motorized counter-weight rigging. An orchestra pit seating up to fifty musicians can be raised to house or stage position, adding four rows of seating, or an extended apron.
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On 21 August 1964 a fire destroyed most of the theatre and the unsafe structure had to be demolished. In 1969 at a cost of £230,000 a new theatre opened and has been in continuous use ever since. The stage measures by and can be extended by covering the orchestra pit. On 6 June 2007 the theatre staged the world première of Houdini—The Musical, which is based on the life of the escapologist Harry Houdini.
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Mufti Akhmad- Khadzhi Shamayev, official leader of Chechnya's Muslims, said he had no information about who the attackers were and condemned attacks on civilians. The pro-Moscow Islamic leader of Chechnya also condemned the attack. All hostages were kept in the auditorium and the orchestra pit was used as a lavatory. The situation in the hall was nervous and it frequently changed depending on the mood of the hostage-takers, who were following reports in the mass media.
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A 100-capacity orchestra pit is also present within the theater which is the largest in the Philippines. Like the theater itself, the feature which was unveiled on October 2012 was a present to Lisa Macuja-Elizalde whose birthday is on October 3. Radio stations owned by the Manila Broadcasting Company namely DZRH, Love Radio, Easy Rock, Yes The Best and Radyo Natin Nationwide are also hosted on the theater's first floor where the entrance is also situated.
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The Rialto Center for the Arts now boasts superb acoustics after the theater's roof was raised 12 feet. Interior renovations included a larger lobby to handle patrons; box office facilities; ADA-accessible improvements; a new stage with a proscenium; an orchestra pit; and 833 new seats. The eight-floor Haas-Howell Building houses the backstage facilities, the Dahlberg Room (the theatre's Green Room), and administrative offices for the Rialto Center on the second and third floors.
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After three decades of service, the stage machinery began to show signs of wear and tear. It underwent extensive refurbishments during the 1997-1998 renovations. Most of the transformations took place in parts of the theatre out of the audience's sight, namely the stage-house, between the ceiling and the floor, and the orchestra pit decks. With four levels of gangways and thousands of cables cluttering it, the fly loft in particular was a real stumbling block.
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Rialto Theater Hailed as "the ultimate photoplay house," the Beaux-Arts style Rialto Theater opened September 7, 1918. Tacoma's Rialto was part of a national movie house chain and as such, the stage space, orchestra pit and dressing rooms were at a bare minimum. The lobby was also considerably smaller than what is present today. These vaudeville-era theater architects concentrated on the auditorium, seeking acoustically successful theaters and concert halls as models for the ones they designed.
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Large-scale musicals have included the award-winning Carmen Jones, Chicago, Cats and Miss Saigon, whilst the comedies, rock & roll musicals, children's shows and a Christmas pantomime are regular features in the theatre's programme. The theatre is split into three levels: Stalls, Royal Circle and Upper Circle, with the Royal Circle and Stalls having disabled seating available. The first three rows of the stalls (AA, BB and CC) are removed if space is needed for an orchestra pit.
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The Little Theatre was closed in 1985 because it was damaged from old age, abuse, and a fire. It was later renovated and reopened to the public. In September 2001, the Civic Center Music Hall reopened after a three-year renovation. A complete interior renovation of the historic Civic Center Music Hall includes accommodations for major theatrical, dance and musical groups; a multi-story atrium; balconies, box seats and suites; excellent acoustics; and a hydraulic orchestra pit.
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The interior space was to be expanded from : the basement was enlarged to accommodate an orchestra pit, new box seats were obtained, and the lobby area was expanded. Many local businesses pledged support by providing material, labor, and other resources in exchange for being recognized on plaques in the lobby area. A concession stand selling snacks and beverages (including beer and wine) was included in the design. The Tower Theatre re-opened its doors in January 2004.
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Light gained entry to the café by the large windows running across the frontage, the kitchen was placed under the large fin structure with a single window beyond the fin. From the foyer are steps down to the vestibule, where a cloakroom and toilets were available before entering the fan shaped auditorium. There was a front stalls entrance and foyer set to the left of the stage. The stage had an orchestra pit and 35' wide proscenium.
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The organ lift could rise independently and rotate. The remaining width of the orchestra pit could also raise, lifting the orchestra up to the stage level. The third segment was an integrated piano lift in the center of the orchestra lift that could either rise independently or with the orchestra lift. The theatre was equipped with a stage lighting system that controlled a system of lighting fixtures and units on the stage and in the auditorium.
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The theatre has a mezzanine, a high balcony, a permanent backdrop of a "Venetian piazza," an orchestra pit, a ceiling against which images of twinkling stars are projected, and terrazzo flooring. The air-conditioning system, which was the first in the county, was a pump that used artesian well water to chill the building. Under the name Polk Theatre and Office Building, the building was added to the U.S. National Register of Historic Places in 1993.
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His first attempt as an opera singer was in Un ballo in maschera at the Teatro Dal Verme in Milan in 1880.Grove states that he lost his voice and had to return to the orchestra pit but this is contradicted by the New York Times 7 July 1893.Grove Dictionary of Music and Musicians After singing in the leading Italian cities, he went to Spain. According to IMDb, his wife was named Mary but this information is questionable.
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She can be heard several times a year performing the Atlanta Symphony and the Atlanta Ballet as an extra musician. As well as performing symphonic and solo work, Ms. Toll might be seen in the orchestra pit for various Broadway shows at the Fox Theater. In addition to her performing schedule, Ms. Toll maintains a teaching studio of students ranging in age from 9 to 83. Most recently she was instructor of trumpet at Georgia State University.
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The inner courtyard is the prime reason for opera being performed at Läckö Castle. The high whitewashed walls are highly irregular; no lines are straight and no angle is equal to any other angle. The result is acoustically well suited for live unamplified music and a whisper can be heard by the entire audience. The inner courtyard seats 370 to 390 spectators, depending on the size of the stage and the orchestra pit for a given production.
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Aberdeen Arts Centre is a theatre on King Street in Aberdeen, Scotland. The 350-seater auditorium regularly plays host to music and drama events and is the focus for much of Aberdeen's amateur dramatic activities. The theatre is on two levels, with an upper and a lower gallery for audiences. There is a small orchestra pit and behind the stage there are dressing and rehearsal rooms for the shows and other projects such as local drama groups.
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Walken does not utilize many impressions of Presley other than clothing and hair style, instead singing in his own voice, with an occasional "Tennessee Williams-style" accent. Musical Direction and Sound Design was done by Mike Nolan, who led the band, "Organ Donor." The band played the show live every night in the stage right orchestra pit. The original music, written by Mike Nolan and Scott Williams, was contemporary to the audience rather than to Presley.
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The Kinneksbond cultural centre Kinneksbond is a cultural centre in Mamer in southern Luxembourg. Opened in October 2010, it houses a 480-seat auditorium with a stage and orchestra pit suitable for concerts, drama performances and shows. Designed by the architect Jim Clemes from Esch-sur-Alzette, the ultra- modern facility also contains dress rooms, a room for band rehearsals and a number of smaller rooms for music teaching. There is a spacious foyer with a cloakroom and bar.
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The new theatre was named the Theatre Royal and Opera House. It was constructed of brick with stone dressings and comprised an orchestra pit, stalls, a dress circle of three rows, an upper circle, which had the unusual feature of its own retiring rooms, and a very large gallery which allowed for unobstructed views. The entrance façade was built in the classical style with three wide bays of giant pilasters."Matcham's Revills'" by Michael Sell; Wilmore, p. 62.
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The John Elliott Theatre shares a building with the Halton Hills Public Library. The theatre features a wide proscenium, sizable stage, orchestra pit, and 267 seats, its space having expanded after the library moved into a new wing in 1973. It is named after John Alwyn Elliott (1923-1978). Together with the art gallery that also shares the building, this space is referred to as the Halton Hills Cultural Centre and is operated by the Recreation and Parks Department.
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The world-renowned La Scala opera house in Milan, Italy An opera house is a theatre venue constructed specifically for opera. It consists of a stage, an orchestra pit, audience seating, and backstage facilities for costumes and set building. While some venues are constructed specifically for operas, other opera houses are part of larger performing arts centers. Indeed the term opera house itself is often used as a term of prestige for any large performing-arts center.
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After its closure, it was occasionally used as a church. In 1999, the building was considered for listed building status as part of a thematic survey of cinemas, however it was rejected as too many of the original features had been removed. When the cinema closed in 2004, the orchestra pit, stage, proscenium, ceiling and foyer areas were still partly intact (although hidden), and could be restored. It was thought to be the oldest cinema in Manchester's city centre.
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The pressed-metal ceiling was also replaced with a plaster-moulded copy. The sliding dome in the roof was permanently sealed, and redecorated to match its original design from 1904. The orchestra pit was also expanded and new lighting and counterweights installed. The hotel portion of the complex was separated from the theatre, and renovated to provide a home for the resident West Australian Opera and West Australian Ballet, as well as backstage facilities for touring companies.
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There is a small orchestra pit and behind the stage there are dressing and rehearsal rooms for the shows and other projects such as local drama groups. In addition the theatre has a large participatory arts programme. The centre is home to Castlegate Theatre Company (formally established by Annie Inglis), an award-winning youth group for teenagers which focuses on devised theatre. Saturday Drama classes, led by Sheena Blackhall, Julie Hutton and Barry Donaldson, run every Saturday for 3 to 11s.
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In showing the films, synchronization of sorts > was achieved by adjusting the hand cranked film projector's speed to match > the phonograph. the projectionist was equipped with a telephone through > which he listened to the phonograph which was located in the orchestra pit. Sufficient playback volume was also hard to achieve. While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not project satisfactorily to fill large spaces.
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Over six miles of electrical wiring and 15 miles of rope for rigging was installed. With its large stage, orchestra pit, eleven dressing rooms, and fifty-two curtains and backdrops the Pantheon was the only facility in the area that could handle Broadway shows. The Pantheon featured live shows from Broadway, vaudeville, live music, cooking shows, fashion shows, and movies. At first the movies were silent and the Pantheon had a modest Wurlitzer theatre organ to play along with the silent movies.
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"An Account of the Fire" in "Holocaust" Brooklyn Daily Eagle December 6, 1876 page 2, column 6 Each set was across. The southern door closest to Myrtle Avenue opened into the eastern end of the lobby, underneath the flight of stairs leading from the lobby to the dress circle. The middle set opened onto a hallway adjoining the parquet, and the northern set opened near the stage and orchestra pit. The middle set served a stairway ascending to the second floor dress circle.
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Appearing for the first time as the main attraction at a movie palace, the orchestra played an abbreviated concert program four times a day between showings of the feature film, The Black Rose.Taubman, The New York Times, September 2, 1950. The Roxy's stage was rebuilt twice, in 1948 and 1952, to add the ice surface for skating shows. During the latter refurbishing the stage was extended out into the house over the orchestra pit and had colored neon embedded in the ice.
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In the same 1939 a part of regular English garden, immediately north from the palace, was replanted; Ostankino park proper shrunk to just one square kilometer as the lands further north became the State Botanical Garden. Throughout the Soviet period the main theater hall was set up a single ballroom space. Partitions separating stage, orchestra pit and spectator areas were re- introduced during the controversial repairs of the 2000s, so the theater can once again be used in its original function.
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The floor of the stage is maple over plywood, over two layers of sleepers, over neoprene blocks. The floor has wonderful resiliency for ballet and other dance mediums. Any kind of nailing or screwing into the floor is forbidden. The frontmost part of the stage consists of two screw jack lifts that can be raised to the level of the stage, arranged as a part of a two-tier stage setup, positioned at audience floor level, or lowered to create an orchestra pit.
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In addition to the main gymnasium, there is a separate wrestling room. The auditorium includes trap doors on the stage as well as a full-size orchestra pit. Overall, the building was designed to Leadership in Energy and Environmental Design (LEED) Gold standards, with sustainable features such as solar panels. Other features of the building include a kitchen for students in the culinary arts program, a media studio complete with green screen, flexible classroom spaces, medical classrooms, and lab space for jewelry-making.
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William David "Bill" Brohn (March 30, 1933 – May 11, 2017) was an American arranger and orchestrator, best known for his scores of musicals such as Miss Saigon, Ragtime and Wicked. He won the Tony Award for Best Orchestrations for Ragtime and won the Drama Desk Award for Outstanding Orchestrations three times. His work was eclectic, orchestrating many different styles of music. His modern scores are known for their keyboard writing for the orchestra pit, and their balance between acoustic and synthesised sounds.
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The Platform Theatre is a receiving and producing theatre situated in the Central Saint Martin's complex at King's Cross. The theatre holds 360 in a variety of configurations, has an orchestra pit and a full flying tower and is equipped to high professional standards. The theatre aims to present all aspects of the performing arts. Productions by students of Drama Centre London are presented here, as is work by students of other colleges of the University of the Arts, London.
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The building spreads over 14,000 square metres of floor area. The theatre is equipped with ultra modern facilities such as an auditorium with 1,288 seats, a library, and training facilities. The building features two permanent theatres—the main auditorium and an open-air theatre—and the ability to convert the front steps into an additional open-air theatre. The 690-square-metre moving stage in the auditorium includes the ability to raise and lower the orchestra pit to and from stage level.
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Like other photoplayers, the Bartola was designed around an upright piano, and consisted of several ranks of organ pipes and various percussion instruments and sound effects housed in a case, all installed in the theatre's orchestra pit. There were four models. The larger ones had several cases-one for organ pipe ranks and the other for percussions and sound effects. The traps and other percussions were powered directly by electric solenoids and not pneumatically as was the case with most other photoplayers.
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The farm estate and stock were auctioned off on 25 March 1957 at which time there were 100 head of dairy shorthorns, pigs, sheep and poultry. As a relief from the demanding manual labour required of physically able inmates, patients were allowed a wide range of social and leisure activities including sports, dances and fetes. The Main Hall provided a focus for these activities, having a proscenium stage, orchestra pit and two Gaumont-Kazee cinema projectors with Rank audio visual rectifiers.
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Abbott is the former marketing and tourism manager of Sydney Opera House, and instituted an opera season at West Green House which is held annually in July and August. Operas are staged on the Theatre Lawn, with seating, a stage and an orchestra pit which take advantage of the contours of the garden. There is a strong association with the Opera Project touring opera company. In 2012, West Green House hosted a production by the Garsington Opera Emerging Artists programme.
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SHS has a 500-seat theatre equipped with two full-size dressing rooms, computer-operated lights and backdrops, an orchestra pit with hydraulic lift, and a catwalk. The Atlanta Theatre Organ Society donated and installed an organ with full piping. Stephenson is one of three schools in the country to house such an organ, and uses it for musicals and concerts. Students study horticulture, landscaping, and botany in an interactive Education/Outdoor Classroom that provides hands- on learning and instruction.
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To keep theatre patrons comfortable in the summers, workers would lower waggonloads of ice and straw down a 35-foot shaft, then would carry it through a tunnel to a basement beneath the hall, where cool air rose up from vents beneath the seats. In 1925, the building was burnt again in a fire. Fire team localized the burning, but the stage and orchestra pit were destroyed. During the fire of 1925, original curtain of the theater stage burned, which was never restored.
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Retrieved via Questia Online Library 15 June 2014 . In 1991 Dicapo Opera began performing regularly in St. Jean Baptiste Catholic Church on Manhattan's East Side. Capasso conceived and designed a permanent home and performance space for the company there in 1995 when he repurposed the lower level of the church, transforming the large, unused space into a 204-seat "jewel-box" theater. He was involved in most aspects of the construction project, even personally manning heavy equipment to dig the orchestra pit.
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Dan O'Farrell (Pat O'Brien) was is a brilliant Broadway theater playwright, actor, and producer who has left the business. When he was younger, he and his partner Barry Keith-Trimble (Roland Young) were preparing for the opening night of O'Farell's play Laughter by getting drunk. When it was time to perform, they were so intoxicated they ended up brawling on stage and fell into the orchestra pit. The two left the theater and continued drinking, until they learn that they have been suspended.
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After two years of surgery and physical therapy, Levine returned to conducting for the first time on May 19, 2013, in a concert with the Metropolitan Opera Orchestra at Carnegie Hall. Levine conducted from a motorized wheelchair, with a special platform designed to accommodate it, which could rise and descend like an elevator. He returned to the Met on September 24, 2013. The same type of platform was present in the Met orchestra pit for his September 2013 return performance.
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Structurally, this building is no different from the others within Harperley. However, its interior, constructed entirely by the PoWs, is a remarkable achievement. It shows the successfully converted interior of a MoW (Ministry of War) Standard Hut incorporating a Stage (with Prompt Box and Orchestra Pit) and tiered auditorium flooring. It is believed none of the materials were requisitioned or issued to them and it is possible that the bricks, sand, cement and gravel were 'acquired' almost certainly 'on permanent loan'.
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The Embassy Cinema encompassed a number of innovative ideas, some of which were unknown in the cinema world at the time."The Embassy Opened. New Super Cinema at Chadwell Heath", The Dagenham Post, 25 May 1934, Page 4 It featured a tea-lounge and artistic café, as well as a ballroom for dancing to the sound of a live orchestra. A 24-foot deep stage and orchestra pit, in the auditorium, could accommodate live performances as there were also four adjacent dressing rooms.
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The Lakeland Arts Center, the Canal Arts Center, and the Roanoke Valley Players theater group are a few of the county's cultural institutions. With 328 seats and an 11-piece orchestra pit, Lakeland Theatre Company in Littleton marks several decades of showcasing plays and concerts. The Enfield Performing Arts Center had its first film festival in October 2017, featuring the work of local and nationally known film makers. With 195,896 acres in farmland, Halifax County Agricultural products include tobacco, peanuts, cotton, corn, soybeans.
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Jacob augmented the setup with more shotgun microphones to pick up sounds from mid-stage and upstage (the rear of the stage). An offstage vocal booth was added for two singers whose voices were subtly mixed into chorus numbers. As well, Jacob used a large plate reverb unit from Elektro-Mess-Technik (EMT) to fill out the singing voices. The Shubert's orchestra pit was covered in acoustically transparent black gauze to help the audience forget the presence of the band.
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In 2019, the theater auditorium began a six-month renovation removing all the seats on the floor of the main auditorium and replacing the floor and adding seats that accommodate ADA seating, replace narrower seats. As well, the plans include adding a new sound system, replacing building infrastructure, and restoring the roof to the original terra cotta façade. This renovation was a second phase of planned work in 2013, when the orchestra pit, backstage/downstairs, and the stage itself were improved.
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In 1942, the railroad went out of business and the newspaper took over its offices. Four years later, in 1946, the Sanfords leased the theater to the Kallet chain on the condition that they keep the revenue from the concession stand, and Kallet invest in improvements. Two years later, the chain began a substantial remodeling of the interior, filling in the orchestra pit to add more seats. The wood trusses that break the roof plane were added at this time.
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Maslon, p. 121 As originally planned, Martin was supposed to conclude "I'm in Love with a Wonderful Guy" with an exuberant cartwheel across the stage. This was eliminated after she vaulted into the orchestra pit, knocking out Rittman.Logan, p. 289 There were no major difficulties during the four weeks of rehearsal in New York; Martin later remembered that the "gypsy run-through" for friends and professional associates on a bare stage was met with some of the most enthusiastic applause she could remember.
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For the movie's soundtrack, Georges Prêtre conducted the orchestra of the Teatro alla Scala in the opera house's orchestra pit, while each of the film's performers sang their own parts onstage while the cameras rolled. No audience, however, was present and it was recorded in segments. Plácido Domingo, who had frequently performed the role of Canio onstage since 1966, previously recorded the opera in 1971 under Nello Santi. Philips Records released the film's soundtrack on LP in 1985 and CD in 1990.
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The grand staircase is patterned from the grand stair of the Paris Opera House and ascends to the various balcony levels. Marshall Field and Company supplied interior decorations including drapes and furniture. The crystal chandeliers and bronze light fixtures fitted with Steuben glass shades were designed and built by Victor Pearlman and Co. The stage dimensions exceed in width and in depth. The orchestra pit is approximately below stage level, wide at the stage lip, with a depth of at center.
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The theatre's auditorium had boxes, lattices, an orchestra pit and first and second floor galleries. However, the theatre had been built hastily causing concerns about its safety, forcing the manager to issue a statement that he would obtain the necessary certificates from Master Builders. This theatre closed in 1749 and the building was appropriated for other uses.John C. Greene, Gladys L. H. Clark, The Dublin Stage, 1720-1745: A Calendar of Plays, Entertainments, and Afterpieces, Leigh University Press (1993) - Google Books pg.
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Fearful, Harris immediately called the police before boarding her train home. Back home in Kharkov, Harris was engaged at the Kommerchesky Garden Club on 21 Rymarskaya Street. The main hall was supplied with a stage and an orchestra pit, where the Black Nightingale performed her act. On October 17, the New Odessa and Morning of Kharkov newspapers announced that Harris's apartment had been raided, as it was suspected that she had stolen money and a feather ostrich boa from Gindra's personal belongings.
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This was dismantled in the 1920s when the buildings became a hospital. Able to seat 150 people, the back of the theatre houses a gallery where the domestic staff would sit, enabling them to enjoy the performances. The orchestra pit is separated from the seating area by a balustrade, and holds up to 24 musicians. Invitations for the July 12, 1891, opening event went to two types of guest: those invited to stay at the castle, and those invited just for the performance.
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Nash joined the army, serving in France, Salonika, Egypt and Palestine. The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action.
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Eugene O'Neill's first Broadway play, In the Zone, opened at the Comedy Theatre in 1917. With its narrow orchestra pit and a booth for follow spots at the rear of the second balcony, the theatre was also used for small musical shows. The Comedy Theatre was shuttered in 1931, in the aftermath of the Wall Street Crash of 1929. It reopened in 1937 as the Mercury Theatre, leased by John Houseman and Orson Welles for their new repertory theatre company, the Mercury Theatre.
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The new facility includes 34 classrooms (14 of which are unused), each with its own dedicated smart board, projector, and panic buttons. One hundred and ten security cameras adorn the 60-acre campus inside and out. The main entrance to the building features a "safety door" which makes guests check in through a window before being buzzed into the building. The newly built school includes a new fine arts center with a 900-seat auditorium, which includes full lighting, sound, and an orchestra pit.
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It hosts a variety of school events throughout the year, such as student concerts, musicals, awards ceremonies and graduations. The space is also rented out to local arts/cultural organizations and companies for concerts, meetings and other events throughout the year. The stage is a full Broadway-sized stage (88 feet wide, 49 feet deep, three stories tall for fly space (hanging scenery). The stage has an orchestra pit containing two pistons (although only one functions) that are capable of raising and lowering the pit.
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The composer seems to rise from the orchestra pit and throw bones in the face of the audience, that is to say, ballet clichés: grand pas, fouettés, variations, adagios. Yet the result is a beautiful romantic ballet, showed twice: firstly the ballet as such, with its meaningless joy and conventional character, and secondly with the author's attitude. This was one of the reasons, among others, for changing the title and replacing the "skin" with a "bone."p.118-119 in:Irina Morozova: Composer one of the three.
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During the expansion, five boys from the nearby middle school vandalised the building, destroying drywall, throwing equipment into an orchestra pit, and pouring roofing glue on plumbing. The vandalism delayed the opening of the new wing by two weeks. An additional five years later, in 2003, the parking lots and gymnasium floor were replaced at a cost of roughly $1.3 million. In early 2003, a group of conservative students began publishing an underground newspaper after they felt that the school newspaper was unresponsive to their needs.
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Lincoln Hall, then Lincoln High School, circa 1920 Through the years, renovations have occurred to change the usage of Lincoln Hall. In 1966, a gymnasium in the basement was converted into a sloped lecture hall, currently used as a 200-seat concert hall. A structural renovation in 1974 expanded the main auditorium, including converting the floor and balcony style seating to sloped seating, which reduced seating capacity from 750 to 500 seats. This renovation also added an orchestra pit, added an elevator, and expanded other rooms.
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Gardner, Elysa. "'Big Fish' won't > quite reel you in" USA Today, October 6, 2013 Thom Geler of Entertainment Weekly had a more positive take on those same aspects: > It's no spoiler to say that imagination wins out, particularly in director- > choreographer Susan Stroman's visually lavish production, which boasts > dancing circus elephants, a mermaid who pops up from the orchestra pit, and > tree trunks that ingeniously morph into a coven of witches. Don Holder's > lighting, William Ivey Long's costumes, and Benjamin Pearcy's projections > are often wondrous to behold . . .
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In July 2008, Koch pledged $100 million over 10 years to renovate the New York State Theater in the Lincoln Center for the Performing Arts; the Theater is the home of the New York City Ballet. According to The New York Times, Koch's gift was "transformative, enabling a full-scale renovation of the stage" that included "an enlarged orchestra pit that mechanically rises". The theater was renamed the David H. Koch Theater. Koch also pledged $10 million to renovate fountains outside the Metropolitan Museum of Art.
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The Forest Opera is an open-air amphitheatre located in Sopot, Poland, with a capacity of 4400 seats, the orchestra pit can contain up to 110 musicians. Each year, starting from 1964 (with some interruption in the early 1980s), the Sopot International Song Festival took place at the Forest Opera, events being organized by the Ministry of Culture and Art in cooperation with the Polish Artistic Agency (PAGART). The Forest Opera played host to the first Intervision Song Contest, between 24–27 August 1977.
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The building was constructed adjacent to Justin Hall and includes a thrust stage with an orchestra pit in an 800-seat auditorium, a campus book store, a fitness center, and a boardroom. In 1995 the complex was completed with the construction of a band room, practice rooms, dressing rooms, offices, and storage space. In 1999 the campus was expanded with the acquisition of a parcel of land behind the school's football field on Big Tree Road. Practice fields and additional playing fields were constructed in that space.
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The young woman Charity Hope Valentine is a taxi dancer at a dance hall called the Fandango Ballroom in New York City. With a shoulder bag and a heart tattooed on her left shoulder, Charity meets her boyfriend Charlie in Central Park. While Charlie silently preens himself, Charity speaks the pick- up lines she imagines him saying, and tells him how handsome he is ("You Should See Yourself"). Charlie then steals her handbag and pushes her into the lake (usually the orchestra pit) before running off.
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The activities of the theater continued until the early twentieth century, but declined during the years of Fascism until it was requisitioned by the Germans during the occupation of the city and allocated to shows for their soldiers. After the war, the theater was seriously damaged and the City between 1951 and 1953 financed the restoration work, which included a re-roofing and the modification of stage, orchestra pit and marble floors. Currently the theater has 785 seats. The stage is wide and deep.
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The movie theater was converted into a live theater by creating a by stage and adding an orchestra pit, dressing rooms, a wardrobe and orchestra room, and additional lighting. A second round of renovation was performed in 2007, after securing capital outlay grants of $1 million from the State of New Mexico. This renovation provided additional restrooms, a new sound booth, a handicapped-seating area, and an ADA-compliant ramp. At the end of the second renovation the theater had given up 90 seats and seated 590.
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Seats were covered in ruby plush velvet and balconies incorporated gilt and brocade. This was a distinct change from the conventions of theatre colour schemes at the time which tended to favour green baize. A portrait of James Cook proclaiming the east coast of Australia in the name of Britain descended between acts. Although seen as an improvement on theatre design for Sydney, a report by the colonial architect was critical of inadequate and malodorous backstage facilities, in particular the orchestra pit and dressing rooms.
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He wins his age category (6–12 months) but an older competitor wins the Grand Challenge Cup as William has no teeth. The Ruggles return home only to find that William now has a tooth. Jo Ruggles junior, the fifth child, a Mickey Mouse fan, enjoys watching cartoons at the cinema. On Saturday morning he sneaks inside the empty building and hides in the orchestra pit to see the first colour Mickey Mouse film, where he soon falls asleep; several hours later, several cinema musicians find him.
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The Eisenhower Theater, on the north side, seats about 1,163 and is named for President Dwight D. Eisenhower, who signed the National Cultural Center Act into law on September 2, 1958. It primarily hosts plays and musicals, smaller-scale operas, ballet and contemporary dance. The theater contains an orchestra pit for up to 35 musicians that is convertible to a forestage or additional seating space. The venue reopened in October 2008, following a 16-month renovation which altered the color scheme and seating arrangements.
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Poulsen debuted on film in 1910 with Regia Art Films, and later starred in four films for Nordisk Film. He wrote the book Gennem de fagre riger (English: Through the Fair Realms) which was published in 1916. In 1919 Poulsen staged Adam Oehlenschläger's drama Aladdin with music to be composed by Carl Nielsen. After accepting the contract, Nielsen found that Poulsen was making the orchestra play under the huge staircase in the center of the scenery and using the orchestra pit in the set.
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The largest of the three rooms of the theater is the Martín Coronado, named in tribute to one of the pioneers of drama in Argentina. With its two- tiered stalls, it can accommodate 1049 spectators. The Italian-style stage is equipped with a mouth of variable sizes (between 11 and 16 meters) and has a center section that can move vertically, in whole or in part, through nine lifts operating simultaneously or separately. It includes an orchestra pit and a drawbridge to modern lighting and sound systems.
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Seldom has a corps of dancers brought so much style and excitement to > a production which could easily have been pedestrian. ... It is difficult to > describe the emotion [the song "Hello, Dolly!"] produces. Last night the > audience nearly tore up the seats as she led the parade of waiters in a > series of encores over the semi-circular runway that extends around the > orchestra pit out into the audience, ... a tribute to the personal appeal of > Miss Channing and the magical inventiveness of Mr. Champion's staging.
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A significant feature of the Festspielhaus is its unusual orchestra pit. It is recessed under the stage and covered by a hood, so that the orchestra is completely invisible to the audience. This feature was a central preoccupation for Wagner, since it made the audience concentrate on the drama onstage, rather than the distracting motion of the conductor and musicians. The design also corrected the balance of volume between singers and orchestra, creating ideal acoustics for Wagner's operas, which are the only operas performed at the Festspielhaus.
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In 2000, Greensboro arts groups wanted a new performance facility or changes to existing facilities which were inadequate. War Memorial Auditorium, with 2,400 seats, was too large for some events but had a small stage and orchestra pit as well as poor acoustics; Coliseum Managing Director Matt Brown had plans for $5 million in improvements but no funding. The Carolina Theatre downtown had only 1,100 seats. A preliminary study recommended a performing arts center with 1,700 to 2,000 seats, and a smaller 500-seat facility.
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Atlanta Symphony Hall is the home venue of the Atlanta Symphony Orchestra. It is located within the Woodruff Arts Center at 1280 Peachtree Street in Atlanta, Georgia, USA. The venue has a total capacity of 1,762 seats on three levels: 1,074 in the orchestra section, 349 in the lower balcony and 339 in the upper balcony. There are also spaces for 12 wheelchairs and 12 companion seats, as well as room for 82 additional seats in the orchestra pit, depending on the stage set-up.
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In January 1981, the theatre closed and was converted into a triple screen cinema which reopened on 30 April 1981, although the revolving stage was retained together with the orchestra pit, original proscenium and front stalls and dressing rooms, though hidden behind the screens. The circle was used for one screen with the stalls divided into two screens. It was renamed the Cannon Cinema in 1986, the MGM Cinema in May 1993 before reverting to the ABC name. It closed as a cinema in July 2000.
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Activities in this area include Band (four levels), Chorus (four levels), Guitar Club, Jazz Band, the Firebird Swing Jazz Choir, Orchestra, Pit Band, and Jubilee Choir, Gregorian Consortium (sometimes called St. Greg's). Publications include Blue and Gold (a yearbook), The Renaissance (a literary magazine), The Phoenix (a newspaper). Kellenberg also has an Academic Quiz Bowl team and a Science Olympiad team. The Academic Quiz Bowl team came in 11th place at the 2008 NAQT High School National Championship, and placed second in the 2010 season of the New York area TV show The Challenge.
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This invention may have been meant to fit into a crowded orchestra pit for theatrical performances, while having the louder sound of a multi-choired instrument. The other invention (1690) was the highly original oval spinet, a kind of virginal with the longest strings in the middle of the case. Cristofori also built instruments of existing types, documented in the same 1700 inventory: a clavicytherium (upright harpsichord), and two harpsichords of the standard ItalianHubbard 1967, Chapter 1 2 x 8' disposition; one of them has an unusual case made of ebony.
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The name of the opera house was at this time officially changed to Biddeford's City Theater. However, with the increased popularity of drive-ins and television, City Theater had closed its doors by 1963 and remained closed until 1978. In the interim, Biddeford's City Theater was used as a storage facility for the city and, at one point, a horse-shoe pit, complete with a pile of sand dumped in the orchestra pit. Ironically, also during this period, in 1973 Biddeford's City Theater was added to the National Register of Historical Places.
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Fifty-four years had taken a toll on the "South's Finest Theatre". The Orpheum closed on Christmas Day 1982 to begin a $5 million renovation to restore its 1928 opulence. Beyond the cleaning, decorative, and lighting changes of this once-beautiful building, significant improvements included heating, ventilation, and air-conditioning system renovations; restroom enhancements; and dressing room reconfigurations and redecorations. Other changes involved the construction of two functional loading docks, an expanded orchestra pit, and a hydraulic pit lift that added extra space to the front stage area when an orchestra wasn't required.
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In 1996, the Orpheum Theatre tackled its biggest renovation ever, an $8-million project to expand the stage and backstage areas as new touring productions needed more space than the facility offered. Improvements to accommodate growing productions began in spring 1996 and continued through fall 1997. When the curtain opened on the 1997-98 Orpheum Broadway Season, the extended stage was deep with a larger orchestra pit. The renovation also created 13 new dressing rooms, a special warm-up area for the ballet company and added two additional loading bays, doubling the previous capacity.
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The New Victoria combined a 3,318-seat auditorium, ballroom and 200-seat restaurant. The auditorium was primarily a cinema, but also a concert and ballet venue with a stage, orchestra pit, Wurlitzer organ and excellent acoustics. As a cinema it was the third largest in Britain when it opened, with only the Trocadero at Elephant & Castle and Davis Theatre at Croydon being larger. By 1930 cinemas had converted to screen sound pictures, which had been introduced in 1927, but the New Victoria was the first cinema in Britain to be purpose-built for "talkies".
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The building is named after Katherine Dunham and houses the Departments of Music, Mass Communications, Theater and Dance, and the Information Technology Services. In addition to departmental offices, the building houses music studios, theater studios and workshops, the student television studio, a multimedia computer lab, video editing lab, photojournalism dark room, and WSIE-FM and web-radio radio stations. There is also a theater seating approximately 400, with a proscenium stage, orchestra pit, theatrical lighting, and special effect trap doors. The building is located south of the Science building and directly west of the quadrangle.
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Jones enjoyed especial popularity in France, being featured in a jazz festival in the Salle Pleyel. A 1996 videotaped interview completed by Dan Del Fiorentino was donated to the NAMM Oral History Program Collection in 2010 to preserve his music for future generations. Jones performed in the orchestra pit under the direction of Alexander Smallens and briefly in an onstage musical sequence of Porgy and Bess, starring Cab Calloway. He was inducted into the Big Band and Jazz Hall of Fame in 1999 and died the following year in New York City.
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In 1921, the Penn Amusement Company commissioned prominent architect Thomas Lamb to design a “picture palace” to be constructed in Uniontown, PA. Upon opening on October 30, 1922, the theatre was hailed as “the largest, finest, and most beautiful playhouse in Western Pennsylvania.” The theatre began showing silent movies and hosting Vaudeville acts from the B.F. Keith Circuit. Additionally, the orchestra pit contained a Pleubet Master Organ for the purpose of accompany silent films. During the rise of swing music and the big band, the theatre began to see more live music performances.
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In 2012, Anna Homler and Sylvia Hallett released the album The Many Moods of Bread and Shed (The Orchestra Pit). Also among her recent projects, Homler's installation artwork was the subject of a 2010 documentary, M'Bo Ye' Ye, (composed with Geert Waegeman) by Los Angeles filmmaker Jane Cantillon about the Pharmacia Poetica. The Heart of No Place (2009), an independent film by Rika Ohara based on the life of Yoko Ono, includes music by Anna Homler and Bernard Sauser-Hall. She is included in Kate Crash's current interactive documentary created with EZTV’s Michael Masucci.
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A story is told of Barton getting so into his directorial work giving notes one night, that he fell into the orchestra pit, climbed out, and dusted himself off before resuming. A great deal of the past and continuing success of the RSC is attributed to John Barton and to his unrivalled wisdom of language, verse, character, and voice. Barton continued these workshops and conducted Master Classes at BADA (British American Drama Academy) during their Summer in Oxford training programmes. He was awarded the 2001 Sam Wanamaker Prize.
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The Mendel Center at lakemichigancollege.edu and 20,000 square feet of meeting and special event space Conference and Event Services at themendelcenter.com with seating of up to 1,200 at Grand Upton Hall.The Mendel Center at lakemichigancollege.edu The Mainstage Theatre is used primarily for concerts, Broadway and family stage shows, graduation ceremonies and other special events. It features a 4,559-square-foot stage, a 54-seat orchestra pit, 1,097 seats in the main level and a 420-seat mezzanine that serves as a balcony. The Mainstage contains four restrooms and two concession stands, plus two coat rooms.
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He made his first appearance in 1879 at a Leipzig Gewandhaus concert, and on 10 April 1881 appeared with the Vienna Philharmonic in the first Viennese performance of Goldmark's violin concerto under Hans Richter. Shortly thereafter he was engaged as solo violinist and leader of the orchestra at the Hoftheater, or Vienna Court Opera (later the Staatsoper). This orchestra, in unique Viennese tradition, played both in the orchestra pit and on the concert platform, and later became known as the Vienna Philharmonic. He remained leader of these two venerable institutions until the 1930s.
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The Tamworth Capitol Theatre is fitted with a 405-seat auditorium with two levels of tiered seating, professional theatre lighting, a full sound system, dressing rooms, an orchestra pit, and fly tower, and is fully air conditioned. It is a multifunctional space for live theatre and cinema productions. It has significantly added to the existing cultural facilities in the region and provides a forum for live theatre, including dance, drama, music, educational activities, conferences and community events. During the Country Music Festival The Capitol Theatre is host to three independent shows per day.
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While on tour with the 2006 Dutch production of Grease, he met actress Bettina Holwerda, who is 8 years his senior. They began dating shortly after both were admitted to hospital after an accident on stage in which a prop car that they were both in fell 12 ft into the orchestra pit. In a June 2007 interview, Bakkum claimed to have a weakness for strong older women. He proposed to Holwerda on 22 September 2010 and they were married in the Amsterdam Vondel Church on Friday 10 June 2011.
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Carter played in a number of bands during the late 1970s, before meeting Jim Bob (James Robert Morrison) at The Orchestra Pit in Streatham, where their bands The Ballpoints and Dead Clergy used to rehearse. When The Ballpoints' bassist quit at the end of 1980, Les joined the band, who then went on to change their name to Peter Pan's Playground. When Peter Pan's Playground split Carter and Morrison continued to write together and formed the band Jamie Wednesday. Jamie Wednesday broke up in 1987 after some limited success.
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This was a chief cause in the delays of the construction project. Another major cause for delay was multiple budgetary issues that required a public vote by township citizens. Apart from standard classrooms, the school has a fully equipped library, six electronic classrooms, several computer labs with both Microsoft Windows and Macintosh computers, industrial technological rooms, naturally lit art studios, a photography studio with a Darkroom, three gymnasiums, two music rooms, an auditorium with an orchestra pit, television production studios, and a commons area that serves as a link between the school and outside community.
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Tieck was not quite 16 at the time; he refers to himself in the third person. :Ludwig's regard for Mozart was to be rewarded in a surprising way. One evening in 1789, entering the dimly-lit and still empty theatre long before the beginning of the performance, as was his wont, he caught sight of a man in the orchestra pit whom he did not know. He was small, rapid of movement, restless, and with a stupid expression on his face: an unprepossessing figure in a grey overcoat.
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The Alexandra was originally built in 1871 as a corn exchange at the end of the market building. Before it was finished it was decided instead to use it as a meeting hall for the community. It remained as such until in 1883, when a major upgrade of the building included the addition of a stage with dressing rooms below, further dressing rooms in extensions at the side of the main building, and an orchestra pit. Many other alterations followed until it was converted into a two-screen cinema in 1995.
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The Bayreuth Festspielhaus, as seen in 1882 On 17 April 1870 Richard Wagner visited Bayreuth, because he had read about the Margrave Opera House, whose great stage seemed fitting for his works. However, the orchestra pit could not accommodate the large number of musicians required, for example, for the Ring of the Nibelung and the ambience of the auditorium seemed inappropriate for his piece.The Artwork of the Future (Das Kunstwerk der Zukunft) So, he toyed with the idea of building his own festival hall (the Festspielhaus) in Bayreuth.
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The practical use of a ghost light is for safety. A ghost light enables one to navigate the theater to find the lighting control console and to avoid accidents such as falling into the orchestra pit and stepping on or tripping over set pieces. There is an unsubstantiated story of a burglar who tripped on a dark stage, broke his leg and sued the theater for damages. Some claim that the tradition began in the days of gas-lit theaters when dim gas lights were left burning to relieve pressure on the gas valves.
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The Prince Edward Concert Orchestra, of up to 21 players, was initially conducted by Will Prior (–1948), and followed 1927–1936 by Albert Cazabon, father of actor John Cazabon. The orchestra pit was raised or lowered by hydraulic lifts according to requirements. A Wurlitzer theatre organ, which could be used to either augment or replace the orchestra, was opened in February 1925 with Eddie Horton (1893–) at the console. The Prince Edward was regarded as unique in its elaborate sophistication until 1928, when the Regent, Capitol and State theatres opened or were refurbished in competition.
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All seats are within of the stage, arranged with only two side aisles and wide spaces between rows. Dark colors resist reflection and draw the eye to the stage. The forestage is on a hydraulic lift system that can emulate the thrust stage of the OSF Allen Elizabethan Theatre, form a more conventional proscenium front, move below auditorium floor level to form an orchestra pit, or drop two stories for storage of equipment or scenery. The walls of the auditorium can swing in to close down the playing area or open to accommodate larger productions.
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The orchestra played many of the movie theatres in the orchestra pit, on stage, in hotel ballrooms, and any other venues where the orchestra performed. Tal Henry and His Orchestra was billed at the Hershey Park Hotel, on the advertisement, dated Wednesday May 25, 1932, with admission 50 cents. They were also billed Saturday May 21, 1932 "Harlem's Aristocrat of Jazz" with Duke Ellington, followed on May 28, 1932 Vincent Lopez would be at the same ballroom in the Hershey Park Hotel. Memorial Day on May 30, 1932, had Opie Cates and His Orchestra.
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Further emphasis of the illustrious interior stands in the $60,000 Mighty Wurlitzer Organ, designed to elevate from the orchestra pit to accompany vaudeville shows, sing-alongs, and to entertain patrons before and after films. Its "toy box" provides the organ with the versatility to replicate such sounds as horses' hooves, the ocean surf and birds chirping. The organ had 15 ranks with 61 pipes in each rank. In 1973, the Mighty Wurlitzer Organ was sold at auction and housed at the home of a private collector in Dallas.
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Xanadu began previews on Broadway on May 23, 2007, at the Helen Hayes Theatre and opened on July 10, 2007. The production was directed by Christopher Ashley and choreographed by Dan Knechtges, with sets by David Gallo, lighting by Howell Binkley, costumes by David Zinn, sound by T. Richard Fitzgerald and Carl Cassella and projections by Zachary Borovay. The key producers were Robert Ahrens, Tara Smith and Brian Swibel. The production included a considerable amount of skating for the characters Kira and Sonny, and the set extended over the orchestra pit partly into the audience.
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Seating is provided for 1,705 patrons, with 20 wheel-chair spaces, plus an sloping lawn that accommodates about 4,500 more. The theater building itself consists of a 64' x 41' stage; 54 line sets for hanging lights, curtains, and scenery; an orchestra pit which can be raised and lowered; dressing rooms; offices; a full complement of theatrical equipment; and a 110-ton air conditioning system for cooling the performance area. In its 2010 season, the Miller Outdoor Theatre provided entertainment for more than 430,000 people at 141 performances and events.
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Interior showing stage, orchestra pit, boxes, and seating. The domed ceiling The London Coliseum (also known as the Coliseum Theatre) is a Wrenaissance theatre in St Martin's Lane, Westminster, built as one of London's largest and most luxurious "family" variety theatres. Opened on 24 December 1904 as the London Coliseum Theatre of Varieties, it was designed by the theatrical architect Frank Matcham for the impresario Oswald Stoll. Their ambition was to build the largest and finest music hall, described as the "people's palace of entertainment" of its age.
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David Lodge was born in Brockley, south-east London. His family home until 1959 was 81 Millmark Grove, in a residential street of 1930s terraced houses between Brockley Cross to Barriedale, Brockley. His father, a violinist, played in the orchestra pit of south London cinemas accompanying silent films. Lodge's first published novel The Picturegoers (1960) draws on early experiences in "Brickley" (based on Brockley) and his childhood home, which he revisits again in his later novels, Therapy (1995), Deaf Sentence (2008) and Quite A Good Time to be Born: A Memoir (2015).
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He became music director for the 2018 season, and in November Levine became "Music Director Emeritus", while continuing to work as the orchestra's archivist and historian. In September 2001, the OKC Philharmonic opened its season in the newly renovated Civic Center Music Hall. The renovation was one of several Metropolitan Area Projects (MAPS) and cost $52.2 million, resulting in a complete transformation of the performance chamber into the Thelma Gaylord Performing Arts Theater. In addition to a complete interior renovation, the new music hall included a multistory atrium, improved acoustics and a hydraulic orchestra pit.
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The composer Peter Maxwell Davies was among a group which founded the annual St Magnus International Festival which is centred on Kirkwall each midsummer. Orkney Theatre, a 384-seat venue, was opened in 2014 next to Kirkwall Grammar School in The Meadows. It has an orchestra pit which can be made available for use by removing two rows of seats. Kirkwall Harbour can be seen in The Highlands and Islands – A Royal Tour, a 1973 documentary about Prince Charles' visit to the Highlands and Islands, directed by Oscar Marzaroli.
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Side view of the Paramount The Paramount Theatre is located at 125 4th Avenue NE, Austin in the U.S. state of Minnesota. The theater was built by Wagner Construction as an atmospheric theatre in 1929 to great fanfare, being the by first movie palace in Austin accommodating 914 seats with a small stage and orchestra pit. The theatre was designed by Ellerbe & Co. of Minneapolis, and built on the foundations of the Park Theatre which was destroyed by a tornado in 1928. The owner of the Park Theatre, and Paramount's first manager, was Karl Lindstaedt.
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It has played host to The Wailers, George Melly, Soft Machine, Pink Floyd, and Paul McCartney. Performances by big-name acts have been rarer at the university following a 1985 The Boomtown Rats concert, during which the cover of the orchestra pit was damaged. A ban on pop performances, and in particular dancing, in Central Hall was imposed by the university, although it has occasionally been relaxed. Central Hall is still used for classical concerts and since a rock concert was held there on 13 March 2010 it has been available again for full booking.
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The Metropolitan Opera of New York City bought the Philadelphia opera house in 1910 which was used by the company for its touring productions to Philadelphia for roughly the next decade. In the 1920s, the theatre became a venue for the cinema and in the 1930s it became a ballroom. In the 1940s, a sports promoter bought the venue, covering the orchestra pit with flooring so basketball, wrestling, and boxing could take place. This venture closed after attendance waned following a decline in the quality of the opera house's neighborhood.
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The Michigan Theater is a movie palace in Ann Arbor, Michigan, United States. It shows independent films and stage productions, and hosts musical concerts. Designed by Detroit-based architect Maurice Finkel and built in 1927, the historic auditorium seats 1610 and features the theater's original 1927 Barton Theatre Pipe Organ, orchestra pit, stage, and elaborate architectural details. It was built for and owned by Angelo Poulos and his heirs and was leased until 1978 to the Butterfield Theatres chain, who managed it along with Butterfield's nearby State Theater.
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In a traditional opera house, the auditorium is U-shaped, with the length of the sides determining the audience capacity. Around this are tiers of balconies, and often, nearer to the stage, are boxes (small partitioned sections of a balcony). Since the latter part of the 19th century, opera houses often have an orchestra pit, where many orchestra players may be seated at a level below the audience, so that they can play without overwhelming the singing voices. This is especially true of Wagner's Bayreuth Festspielhaus where the pit is partially covered.
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The Schuster Building was designed by the Louisville firm of Nevin, Wischmeyer & Morgan, which also designed the Pendennis Club's clubhouse. Built in 1927, the Schuster Building was the largest of several mixed-use buildings that were built in the pre-World War II era along Bardstown Road, the commercial corridor of what was then Louisville's wealthiest suburban area, the Highlands. The building originally housed shops, professional offices, apartments and the Uptown Theater. The 1,100 seat Uptown was equipped for both live theater and film, with a full stage, orchestra pit and organ.
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On January 23, 1977, while touring in support of Radio Ethiopia, Smith accidentally danced off a high stage in Tampa, Florida, and fell 15 feet into a concrete orchestra pit, breaking several neck vertebrae. The injury required a period of rest and an intensive round of physical therapy, during which time she was able to reassess, re- energize and reorganize her life. Patti Smith Group produced two further albums before the end of the 1970s. Easter (1978) was her most commercially successful record, containing the single "Because the Night" co-written with Bruce Springsteen.
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A circular spiral metal stairway lead to the second floor, a make-up mirrored counter desk, with a Hollywood bed/couch. The adjacent toilet suite was equipped with a wall mounted telephone for Lewis to conduct business while using the facilities and his make-up area. The front stage apron, in front of the proscenium was extended by filling (pouring concrete) into the original orchestra pit. A stage centered 4' wide concrete camera ramp connected the stage apron with a 6' deep camera aisle against the auditorium back wall.
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Roxy reportedly envisioned the sunset design of the stage while traveling home from Europe on an ocean liner. There are two stage curtains; the main one is made of steel and asbestos, which can part horizontally, while the plush curtain behind it has several horizontal sections that can be raised or lowered independently of each other. The center of the stage consists of a rotating section of floor with a diameter. The orchestra pit, which could fit 75 musicians, was placed on a "bandwagon" that could move vertically or longitudinally relative to the stage.
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When Charlotte and Roz finally meet George again, they try to get him prepared for the afternoon's showing of Private Lives, which Capra intends to see. George, in his drunken stupor, decides he would rather do Cyrano, and dresses appropriately. The resulting show is a disaster, as George is several minutes late to arrive onstage and in the wrong costume and character. In the end, Howard, still bound in ropes, hops onstage and calls out for help; then George falls into the orchestra pit, presumably breaking a few instruments and sending him to the hospital.
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From the ground floor, the stairs lead to the galleries and amphitheatres, by two direct, exterior entrances, along the lateral facades. The layout of the horseshoe-shaped hall holds 1328 seats, including the 6 large boxes, with one at the height of the first floor, intended as an alternative to a royal box. Between the audience and the stage is the orchestra pit, with independent entrances from the side facades. The stage and dressing rooms have side and rear entrances, that can be divided by a metallic cloth.
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Subsequent renovations moved the orchestra pit behind the curtain and raised the boxes. Heavy clear-span beams replaced columns supporting the balconies, and the Jim Crow-era ticket booth for "coloreds" and its separate entrance were removed. From March 17-September 22, 1961, NBC-TV carried a live country music variety program from the theater, Five Star Jubilee, on Friday nights; the first network color television series to originate outside of New York City or Hollywood. First-run films continued to be shown on the other six nights of the week.
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In a frequently retold anecdote used to describe the origins of one of Brecht's most personal Event Scores, the artist recalled an incident when his father had a 'nervous breakdown ' during a rehearsal at the Metropolitan Opera Orchestra; > '[A] soprano was bugging everybody with temper tantrums during rehearsal. At > a certain point the orchestra crashed onto a major seventh and there was > silence for the soprano and flute cadenza. Nothing happened. The soprano > looked into the orchestra pit and saw that my father had completely taken > apart his flute, down to the last screw.
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Sayles has overseen two major renovations at the Merry-Go-Round Playhouse. The first, in 1993, was an expansion from 325 seats to 365, and the addition of new dressing rooms and backstage facilities. In 2004, a $2.5 million renovation was completed, which included a full fly- system and orchestra pit, larger wing space, an expanded box office, new heating and cooling systems, and state-of-the-art lighting and sound systems. Most importantly of all, the renovation expanded the Playhouse seating from 365 to a Broadway-size house of 501 seats.
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C1 Another dance version, choreographed by Sasha Waltz, premiered at the Staatsoper Unter den Linden in Berlin on 29 January 2005 and opened with the dancers performing underwater in an enormous tank.Daily Mail (15 March 2007) The production was subsequently seen at the Grand Théâtre in Luxembourg, Opéra national de Montpellier, and Sadler's Wells Theatre in London. In both the Morris and the Waltz adaptations, the characters are each portrayed by both a singer and a dancer, with the dancers onstage and the singers performing from the side of the stage or the orchestra pit.
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Thus Ledoux achieved his ambition that the theatre could at the same time be a place of social communion and shared entertainment while still maintaining a strict hierarchy of the classes. The seating was not the only innovation at the theatre. With the aid of the machinist Dart de Bosco a student of Giovanni Niccolò Servandoni Ledoux expanded the wings and back stage scenery apparatus, giving it greater depth than was customary, and many other modern improvements. Besançon was the first theatre to screen the musicians in an orchestra pit.
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Entrance to the Cremorne Theatre, 2016 The Concert Hall, an auditorium with a capacity of 1,6000 to 1,800 seats, is a long "shoe-box" space accommodating a stage, orchestra pit, upholstered stalls seating, a single rear balcony and long side galleries. The auditorium is designed for a long reverberation time, ideal for a big orchestral sound. The space is able to be varied acoustically to give appropriate acoustic definition to other modes of performance. Interior finishes include Johnstone River hardwood flooring and tiers, sand- blasted white concrete and veneered-plywood walls.
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A white plasterboard coffered ceiling incorporates theatrical lighting pods. The Concert Hall accommodates the Klais Grand Organ with its 6500 pipes arranged symmetrically as a central focus on the rear stage wall. The Lyric Theatre, an auditorium with a proscenium stage and seating capacity for 2,000, accommodates an orchestra pit, raking stalls and two upper balconies of seating. Designed for a mid-range reverberation time ideal for opera, the space is able to be varied acoustically for light opera, musicals and drama by manipulating absorptive panels in the ceiling.
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Tattered Cover bookstore in the former theatre; the orchestra pit is in the foreground The theatre sat vacant for two decades. In May 2005 Charles Woolley of the St. Charles Town Company purchased the property from the Bonfils Foundation for $1.9 million. The development company undertook a $16 million preservation and renovation project to convert the theatre into a bookstore and add a record shop, art cinema, and 230-space parking garage to the adjoining lot. In June 2006 the theatre building reopened as a Tattered Cover bookstore.
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In the orchestra pit was the young Georg Solti, who played the glockenspiel in the opera. On January 5, 1940 she made her debut with the Metropolitan Opera, as Mimì in Puccini's La bohème. She also appeared in twelve other roles at the Met: Euridice, Violetta, Cherubino, Massenet's Manon, Marenka, Donna Elvira, Pamina, Octavian, Antonia, Freia, Mélisande and Prince Orlofsky, the role in which she made her farewell performance on January 15, 1956. Of her 208 appearances at the Met, 103 were in the breeches roles of Prince Orlofsky, Cherubino and Octavian.
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The Hartmann Center is known for having at least three different ghosts: a young boy, a former theatre patron, and a "Lady in White". According to legend, a young boy drowned in the pool that would be in the same location as the present-day orchestra pit. The boy is said to be heard sobbing beneath the floorboards of the pit and scratching against the wood as he tries to get out of the water. The "Lady in White" is a former opera singer who roams the backstage of the Meyer-Jacobs Theatre.
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The Cooke family became friendly with the celebrated soprano Angelica Catalani, after Cooke had led the orchestra at her first Dublin visit in 1807. In 1813, Cooke changed from the orchestra pit to the stage when he first appeared in a tenor role as Saraskier in Stephen Storace's opera The Siege of Belgrade (a role originally created by Cooke's compatriot Michael Kelly in 1791). Later in the same year he performed the role at the English Opera House in London, where he decided to stay for the remainder of his life.
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Times of curtain up varied according to the curfew imposed; on occasion when the population were collectively punished for acts of resistance by earlier curfews, the curtain had to rise as early as 6pm. The electricity supply became increasingly erratic. The Opera House was forced to resort to improvised lighting consisting of 3 car headlights in the orchestra pit and lights powered by car batteries in the wings. In October 1943 a light opera "The Paladins", with libretto by Horace Wyatt and music by PG Larbalestier, was mounted.
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In 1984, the space was used to build an addition to the theatre, the Galbreath Pavilion, named for real estate developer John W. Galbreath and his wife Dorothy. The pavilion expanded lobby space and added offices and rehearsal rooms. The stage was gradually modernized to allow for large theatrical performances by adding a crossover passage, supplemental dressing rooms and an expanded orchestra pit. In the 1980s as the surrounding area was cleared for development of an urban shopping mall, CAPA obtained the rights to expand the stage, doubling its size, into the alleyway behind the theater.
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Opened in 1933 on the site of an old brewery, Troxy cost £250,000 to build and when it first showed films had a capacity of 3,520, making it the largest cinema in England at that time. Inside the building the cinema had luxurious seating, a revolving stage, mirror-lined restaurants and customers were served by staff wearing evening dress. To add to the sense of luxury, Troxy staff sprayed perfume during film showings. The cinema showed all the latest major releases and had a floodlit organ which rose from the orchestra pit during the interval, playing popular tunes.
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In 2005, the Strand closed for six months for repairs, including upgrading the electrical switch gear, replacing 300 seats in the orchestra section, as well as cleaning and repairing the remaining 1,100 seats. These repairs were made in part by a $6 million, four-year capital investment from the city of Boston. In March 2006, the Strand closed its doors again for more improvements, including upgrading the safety and fire systems and renovating the box office and dressing rooms. In July 2008, the Strand's stage floor and orchestra pit were replaced and repairs were made to the facade and marquee.
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Built as part of a residential tower and opened in 2002, the Little Shubert was the first new theatre built by the Shubert Organization in New York City since 1928, when the Ethel Barrymore opened on West 47th Street. Features of Stage 42 include an auditorium with stadium seating providing proximity to the stage. The stage itself and the orchestra pit are comparable in size to the dimensions of many Broadway theatres. Stage 42 is one of the largest Off Broadway theatres but has proven to be an expensive venue to mount shows, partly due to contracts with theatrical unions.
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The theatre is noted for staging the premiere of an early opera written by Gioacchino Rossini at the age of twenty, Ciro in Babilonia in March 1812. Between 1825 and 1826 some renovation work was required, followed by some more in 1850, creating the theatre as seen today. In 1928 an orchestra pit was added. During the Second World War the theatre suffered badly from Allied bombing and, although it opened occasionally in the immediate post-war years, it closed in 1956, not to re-open until further restoration took place in the early 1960s and then once again between 1987 and 1989.
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Theatr Brycheiniog, opened in 1997, was designed by Powys County Council Architects (Roger Bullock) with Carr and Angier as theatre consultants. It was built as part of the regeneration of the canal area and received funding from the European Regional Development Fund and the Arts Council of Wales’ Lottery scheme. It is constructed of red brick and the roof covered with Welsh slate in the style of a canal warehouse, with has two timber-clad projections with stone parapets, housing gantry towers. The theatre is equipped with a grid of 58 counterweight lines, an orchestra pit and sixteen traps.
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The refurbished Hackney Empire built in 1901, retains the original structure, but adds modern facilities (Sept 2005) In 2001, the Empire closed for a £17m refurbishment project designed by Tim Ronalds Architects with Carr and Angier acting as theatre consultants."Theatres & Arts Complexes", Carr & Angier. It was reopened in 2004. The restoration included the addition of a 60-seat orchestra pit to make the Empire suitable for opera performances by companies such as English Touring Opera, the addition of a flytower with provision for counterweight flying and a reduction of the stage rake from 1 in 24 to 1 in 30.
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The IOOF Hall, which has also been known as Crest Theatre, is a two-story building in De Beque, Colorado that was built in 1900. Its second floor's large lodge room served historically as a meeting hall for the Odd Fellows and corresponding Rebekahs groups. First floor rooms of the building served variously as a theater with stage and orchestra pit for local and travelling shows, a community center, and a dance hall. A small projection booth above the lobby, accessed by a steep stairway, was added for the Crest Theatre to begin operating in 1917.
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By the late 1990s, the building's condition had deteriorated and the interior dome had suffered from extensive water damage. The 'Regent Theatre Trust' was set up to manage the renovation and restoration of the building by a small grouped headed by Richard Talbot, before the council took over the redevelopment as part of its Cultural Quarter scheme. The original stage house and part of the auditorium were demolished, and a new stage, backstage facilities and orchestra pit built. The auditorium was restored, with a new proscenium arch constructed, alongside new front-of- house facilities and full disabled access.
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The posts concealed the lift mechanism, and Bartola's four-post lift was of great interest to small to mid-sized theater builders because it sat flat on the orchestra pit floor without requiring excavation below the pit, or even the drilling of a central screw shaft into the floor. Many Barton organ consoles were installed on these lifts, to say nothing of consoles of other builders. Like all Bartola products, they were robustly constructed, and many remain in use today. One example of this lift unit for the Barton organ may be found at the 1927-era historic Temple Theatre in Saginaw, Michigan.
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She also had the set designers install strong spotlights in different colors to serve as guides for her movements. She knew, for instance, that if she stepped into the glow of the spotlights near the front of the stage, she was getting too close to the orchestra pit. There was also a thin wire stretched across the edge of the stage at waist height as another marker for her, but in general she danced within the encircling arms of her partners and was led by them from point to point. Audiences were reportedly never the wiser as they watched her dance.
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It is more uncompromisingly modern in its musical style than L'heure espagnole, and the jazz elements and bitonality of much of the work upset many Parisian opera- goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work".Nichols, Roger. "Enfant et les sortilèges, L'", The New Grove Dictionary of Opera, Oxford Music Online, Oxford University Press, retrieved 14 March 2015 The score presents an impression of simplicity, disguising intricate links between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".
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There is also a permanent stage at the auditorium, as well as a removable orchestra pit. It also contains state-of-the-art lighting and sound systems. There is parking for 6,700 cars. The auditorium celebrated its silver anniversary in 2010, and in its 27 years of operation, has welcomed some of the biggest names in Mexican entertainment, including Vicente Fernández, Pepe Aguilar, Tatiana, Alejandra Guzmán, Pedro Fernández, Alicia Villarreal (with and without Grupo Limite), Luis Miguel, La Oreja de Van Gogh, Flans, Fey, Thalía, Intocable, Los Tigres del Norte, Rocío Dúrcal, Lupita D'Alessio, Gloria Trevi and many others.
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Heavy-duty folded stands, and professional stands are less likely to blow over in outdoor concerts, due to their greater weight. In outdoor concerts where windy conditions are a problem, the most wind-resistant stand is a professional, non-folding stand with a heavy, weighted base. In opera, ballet and musical theatre, the orchestra (or band in the case of musicals) often plays in an orchestra pit in front of and at a lower level than the main performance stage. For dramatic reasons, the stage may be darkened at times during the performance, and the house lights turned off.
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As well as adding a fly tower and orchestra pit to the main auditorium, the theatre was remodelled, so that new front of house areas could be built, better backstage access provided and a studio theatre included. It is architecturally notable for its unique natural ventilation system, which is an award-winning eco-friendly design. In 2004 it won the Green Apple Award for Environmental Best Practice and CIBSE Project of the Year, among others.Awards Reference However, the building received a mixed response from the public, with some people arguing the theatre's design was not in keeping with the character of Lichfield.
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Plans for the Kenya National Theatre begun in 1949 when a committee requested the colonial government to build a theatre. The government passed a law (Chapter 218 of 1951), and provided land on what is now Harry Thuku Road for the building. The choice of location was due to safety considerations, as this was the at the beginning of the Mau Mau uprising and that area was away from the areas frequented by Africans. Once complete, the 450-seat theatre had a dilapidated orchestra pit in the basement, an auditorium with a curtained stage, and a balcony.
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In addition to box office and food service facilities, the Georgia Mountains Center included a 300-seat theater with a 16-foot proscenium and 36' by 27' stage with full fly loft and orchestra pit. Three meeting rooms of various sizes are located within the center, and can seat up to 375 people when utilized together. In 2013, the Georgia Mountains Center was converted into Brenau Downtown Center. The arena portion of the former Georgia Mountains Center was remodeled into a two-story facility that houses the university's graduate programs in the health sciences like physical therapy.
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Ceiling of the Théâtre des Champs-Élysées The theatre shows about three staged opera productions a year, mostly baroque or chamber works, suited to the modest size of its stage and orchestra pit. In addition, it houses an important concert season. It is home to two orchestras: the Orchestre National de France and Orchestre Lamoureux, as well as the French base of the Vienna Philharmonic Orchestra. The Orchestre Philharmonique de Radio France, the Orchestre des Champs-Élysées and Ensemble orchestral de Paris play most of their concerts here too, along with other dance, chamber music, recital and pop events.
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Over time, some directors began to stand up and use hand and arm gestures to lead the performers. Eventually this role of music director became termed the conductor, and a podium was used to make it easier for all the musicians to see him or her. By the time Wagnerian operas were introduced, the complexity of the works and the huge orchestras used to play them gave the conductor an increasingly important role. Modern opera conductors have a challenging role: they have to direct both the orchestra in the orchestra pit and the singers up on stage.
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Instruments were either donated or bought using PoW monies from their Central Fund. Incidentally, on viewing the size of the orchestra pit, one is unsure how eight to 11 prisoners, seating, music stands and instruments (including a double bass and drum kit), were accommodated. Harperley's Camp Orchestra played by popular request at many local functions aided by their equally talented Musical Director, PoW Helmut Entz, (in his previous civilian life he was a professional musician). It is hoped to restore and return the theatre to the community, not just to Drama and Theatre groups, but also to schools and colleges.
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They typically provide detailed design for special theatre systems such as performance lighting systems, stage rigging, orchestra pit lifts, seating (fixed and movable), acoustical canopies and more. Some theatre consulting firms also provide acoustical and/or audio- visual consulting, although those are specialties in their own right. Theatre consultants may work directly for a facility or organisation, or they may be contracted as a specialty consultant for a project architect or engineer. Services can range from programmatic planning for the development of new facilities, planning for the refurbishment or repurposing of existing facilities, or just (re)design or assessment of specific production systems.
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Finally, he wanted to build at least 6,201 seats in the Music Hall so it would be larger than the Roxy Theatre. There were only 5,960 audience seats, but Roxy counted exactly 6,201 seats by including elevator stools, orchestra pit seats, and dressing-room chairs. Despite Roxy's specific requests for design features, the Music Hall's general design was determined by the Associated Architects, the architectural consortium that was designing the rest of Rockefeller Center. The Radio City Music Hall was designed by architect Edward Durell Stone and interior designer Donald Deskey in the Art Deco style.
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Jacob was asked to bring a more subdued, naturalistic tone to A Chorus Line which was supposed to look like an audition-in-progress for most of the show. Jacob put a row of shotgun mics at the front edge of the stage, and Bennett devised a choreography to fit the very visible microphone positions. The show opened at The Public Theater off Broadway, where there was no orchestra pit, and the offstage band was squeezed into the loading dock to which Jacob had applied soundproofing. With success off Broadway, the show was moved to the Shubert Theatre to open in July 1975.
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The present Metropolitan Opera House is located in Lincoln Center at Lincoln Square in the Upper West Side and was designed by architect Wallace K. Harrison. It has a seating capacity of approximately 3,732 with an additional 245 standing room places at the rear of the main floor and the top balcony. As needed, the size of the orchestra pit can be decreased and another row of 35 seats added at the front of the auditorium. The lobby is adorned with two famous murals by Marc Chagall, The Triumph of Music and The Sources of Music.
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The front façade with former signage Part of the foyer of the theatre in January 2015 The theatre was created in 1983 out of a red-brick former Christian Science church on a large plot on Cheam Road at its junction with Gibson Road. The plot once formed part of an estate, and the original church building dates from 1937. The Theatre Trust describes the current building as commanding "a presence in the landscape". The auditorium can accommodate 396 patrons, or 343 when the orchestra pit is being used, and it is tiered facing the end-on stage.
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D-block, part of the first phase of Avondale College's rebuilding project. The Avondale College school grounds feature a science and IT building as well as a gymnasium, a maths and science block, sport fields, an astroturf complex, a theatre, orchestra pit and flexible seating which can hold up to 700 people. Much of the school, including the gymnasium, was rebuilt after a large fire in 1990. On 9 June 2006, the New Zealand Prime Minister Helen Clark visited Avondale College to open the new technical subjects building, the Ferguson Building, that had already been in use through the second half of 2005.
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During its design and construction and again after opening the theatre was the subject of severe criticism. Critics lamented the destruction of rose gardens removed to allow construction, the size of the orchestra pit, the amount of seating (497 seats) as well as the design of the feature mural. A considerable refurbishment was carried out in the 1990s and now the theatre is regarded as one of the best in regional Australia, playing host to national and international touring acts. The Wagga Wagga Regional Art Gallery hosts local collections and travelling exhibitions and has space for an Artist in residence.
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However, in 1939 a fire caused by an overheated exhaust fan in the orchestra pit led to the dance hall's first demise. When the hall was rebuilt, a second fire caused by a coal-powered fireplace led to the dancehall's second, and ultimately final demise. In 1940 Sweigart closed the track down and it appeared that racing in Henry County was over. However, later that year a local promoter named Dutch Hurst visited the area looking for a lighting system for a track that he was constructing known as the Muncie Vellodrome located in Muncie, Indiana.
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The Hoblitzelle Foundation turned the Majestic Theater over to the City of Dallas in January 1976 and the theatre was restored for use as a performing arts center. After restoring the exterior, the original Corinthian columns, balustrades, urns, and trellises of the auditorium were repaired and repainted. 23K gold leaf was reapplied to the extensive interior decorative accents. New seats were installed, and the number of seats was reduced from 2,400 to 1,570, to allow for an enlarged orchestra pit, the conversion of the second balcony to house advanced sound and lighting systems, and the division of the first balcony into box seating.
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The main hall of the Rowland theater houses the majority of seating available. Approximately 1000 seats, as well as handicap-accessible areas, adorn the main floor up to the edge of the orchestra pit. The ceiling is vaulted where it meets with the steel support structure (a successful attempt to blend form and function, adding to the appealing look of the building), and once contained various ornate murals, which have since been mostly covered by white paint during restoration. Some original parts of the mural, as well as examples of restoration efforts conducted in 1930, have been left exposed.
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The Starlight Express was produced by Lena Ashwell at the Kingsway Theatre in London, as one of her high-quality wartime entertainments. The production was announced in The Times, mentioning that the small orchestra pit of the theatre would be enlarged to accommodate a full orchestra.The Times, 30 November 1915 It opened on 29 December 1915. The premiere was to have been the conducted by the composer, but because Lady Elgar had suffered concussion a few days before as the result of a traffic accident, he stayed at home with her, and the conductor was the young Julius Harrison.
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If the building contained a public hall or theatre, one of the shops inevitably was occupied by a cafe. The Mossman Shire Hall, with its drop screen, stage and orchestra pit and dressing rooms, was subsequently used for a range of community events and functions. In 1938, alterations and additions were made by Hill & Taylor. These included: extending the awning to the pavement from the hall, a new area for storing chairs on the northern side of the building, new kitchen facilities in the commercial premises, and renewing flashing and box guttering on the southern side of building.
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Loughery, p. 364. Shinn's commitment to the high life and to interior decoration rubbed a Socialist and true urban realist like Sloan the wrong way. Yet Shinn had never claimed for himself a political stance in his art or intended to narrow his interests in service to a movement or school of art. His best works effectively capture a slice of American urban life in the first years of the twentieth century, in both a realist and a romantic spirit, and his most ambitious paintings (The London Hippodrome, The Orchestra Pit: Old Proctor's Fifth Avenue Theater) are among the greatest theater-inspired images in American art.
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As one of the theatre's original purposes was to exhibit silent films, which typically required musical accompaniment and sound effects, a four manual, 28 rank Barton theatre organ was included in the building's design, with the pipework installed into two chambers that flank the stage. The organ's console is mounted on a movable platform that can be raised to stage level or lowered into the orchestra pit. This instrument underwent an extensive restoration and is the focal point of the organ extravaganza concert held each year in the spring. In 1972, a campaign to "Save the Rialto" was initiated and led by Miss Dorothy Mavrich.
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The show also featured Ivy St. Helier, Lupino Lane and Eric BloreCotes, p. 88. and carried the advertisement "A Robey salad with musical dressing". One of the show's more popular gags was a scene in which Robey picked and ate cherries off St. Helier's hat, before tossing the stones into the orchestra pit which were then met by loud bangs from the bass drum. A sign of his popularity came in August 1920 when he was depicted in scouting costume for a series of 12 Royal Mail stamps in aid of the Printers Pension Corporation War Orphans and the Prince of Wales Boy Scout Funds.
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The horses had their own business, or leading actions, to perform that helped carry out the plot.(Saxon, Enter 6-7) Also at this time, gradual closing of country fairs and discharge of cavalrymen and grooms after the end of the Continental Wars provided both experienced staff and public interest to the new show. Early hippodrama were presented in London at Astley's Amphitheatre, Royal Circus and Olympic Pavilion; and in Paris at Cirque Olympique, where 36 horse riders could perform simultaneously. Theatres built for hippodramas combined proscenium stage with a dirt-floored riding arena separated by orchestra pit; scene and arena were connected by ramps, forming a single performing space.
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The organ console was placed on a screw-drive lift at the left side of the orchestra pit allowing the organist to raise the console into the audience's view while playing or lower it out-of-sight when not in use. Additionally, a large electric blower to provide the organ's compressed air, is placed in a sound-proof room below the stage. A minor stage fire in the 1950s caused the original stage curtains to burn and fall onto the organ console, badly scorching its original mahogany finish. For un-recorded reasons it was decided to paint the console white rather than refinish the scorched wood.
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Le Figaro, 2009-04-25. Due to its size, the auditorium is frequently—and unfavourably—called a "vessel", and, compared to other world- class opera houses, the acoustics have been described as disappointing at best. One technical feature destined to make it better is that the floor of the orchestra pit is actually a small elevator, which makes it possible to adapt the pit to the requirements of the performance, elevating it for a smaller orchestra and lowering it for a larger and louder one; in its largest configuration, the pit has room for 130 players. House right side of the first balcony, as seen from the back of the arena.
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Some sequences were filmed at Pinewood Studios, including the stage and orchestra pit sequences, which were sets constructed specifically for the film. According to biographer Mark Connelly, the shoot was largely copacetic, with the cast and crew having a "happy time" on set. On the first day of the shoot, Powell addressed the cast and crew: "We'll be doing things that haven't been done before, we'll have to work very hard—but I know it's going to be worth it." The shooting of the film's central The Ballet of Red Shoes sequence took approximately six weeks, according to Shearer, who recalled that it was completed in the middle of the production.
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It also includes designs that were innovative for the time, such as the suspended balcony, an orchestra pit, and the large and open proscenium. Additionally, it is not only a building but "an interior space within a larger interior- exterior space", placing it inseparably within its confines in the central complex, and "irreplaceable". A study published in 1955 by the Museum of Modern Art that looked at Latin American architecture also noted the hall was "covered but only partially enclosed". The parterre level of the hall has seven main entrances, along with two emergency exits, as well as 1722 seats divided into 6 blocks.
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The orchestras of the Koninklijke Maatschappij voor Dierkunde and of the Maatschappij der Nieuwe Concerten were disbanded after World War II. Many places of civilised entertainment were severely damaged during the war, leaving very few concert halls in the city. In the 1950s, it also proved difficult to put together occasional orchestras and find suitable stages for an orchestra. Moreover, Antwerp had only one professional orchestra, that of the Koninklijke Vlaamse Opera (Royal Flemish Opera), which had a specific role in the orchestra pit. On 12 November 1955, Gaston Ariën founded De Philharmonie as a non-profit organisation, in collaboration with Jef Maes, J.A. Zwijsen and Steven Candael.
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One of the most popular theatrical forms in the early decades of the 20th century in America was the operetta, and its most famous composer was Irish-born Victor Herbert. It was announced in 1912 that operetta diva Emma Trentini would be starring in a new operetta on Broadway by Herbert with lyricist Otto Harbach entitled The Firefly. Shortly before the writing of the operetta, Trentini appeared in a special performance of Herbert's Naughty Marietta conducted by Herbert himself. When Trentini refused to sing "Italian Street Song" for the encore, an enraged Herbert stormed out of the orchestra pit refusing any further work with Trentini.
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Suskin, Steven. "On The Record: 'Billion Dollar Baby', 'Mayor', and William Finn" Playbill, January 28, 2001 The show gained notoriety for an event that happened in rehearsals: Robbins, walking backwards as he ranted at the dancers, failed to realize how close he was to the orchestra pit—and fell into it.Although the story has been attached to a number of other Robbins musicals, both Greg Lawrence and Deborah Jowitt have traced it to Billion Dollar Baby. Lawrence, Dance with Demons: The Life of Jerome Robbins (New York: Berkley, 2001), 101-2; Jowitt, Jerome Robbins: His Life, His Theater, His Dance (New York: Simon & Schuster, 2004), 116.
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The Glimmerglass Festival's Alice Busch Opera Theater, which opened in June 1987, was built on of farmland donated by Tom Goodyear, its first chairman. The 914-seat theater is notable for its pastoral setting, for being the first American opera house built since 1966, and for its sliding walls, closed only while singers are on-stage and in foul weather. The Theater was designed by Hardy Holzman Pfeiffer Associates. The new theater was built to move the performances from a high school auditorium with poor acoustics and sight lines and no orchestra pit to a building with an interior designed specifically for opera performances.
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The 1001-seat auditorium's interior is clad with acoustically deafened Canadian Elmwood, which was meant to give visitors the impression of being on a Dhow. In fact, the 1001 seats symbolically represent the Thousand and One Arabian Nights. The seats face an long stage in a raked seating method that was designed to improve the viewpoint for the audience. The forestage and proscenium, which covers an area of 19,000m x 10,500m, of the stage were specially modified to present a variety of different methods of staging, with the orchestra pit lying on top of Serapid LinkLift Systems to alter the size of the stage and auditorium.
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Alexandersson attended the Royal College of Music in Stockholm, then studied the violin under Johan Lindberg, counterpoint under Johan Lindegren, and instrumentation under Jean Paul Ertel in Berlin. His musical career had a promising beginning: he received several scholarships, and he was commissioned to write the official march of the Olympic Games in Stockholm 1912. His second symphony, premièred by George Schnéevoigt in 1919, was a success. After writing orchestral music to several Swedish films he devoted more of his time to writing music for silent films, and he played in person, along with, among others, Hilding Rosenberg in the orchestra pit at the Red Mill cinema in Stockholm.
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The theater included a round stage and floating (though still recessed below the stage) orchestra pit, encircling a section of the lake with high diving platforms on each side. The grandstand capacity was more than 5,000 seats. The Aqua Follies continued to run during Seafair until 1965. Outside of the Seafair schedule the theater was the stage for plays and musicals whose directors always took advantage of the unique setting. In the summer of 1962, coinciding with the Century 21 Exposition, the Aqua Theater stage was host to a jazz festival, popular performers such as Bob Hope, two plays, and a special presentation of the Aqua Follies with 100 performers.
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At the end of the war, despite the shortage of money and materials, the Guild made plans for its own theatre, and eventually obtained a lease for the old cinema from the local council. The conversion process took two years of hard work by mainly amateur builders in their spare time. An area of each of the side walls of the old cinema screen - which was simply painted on the wall of the building - was cut away to create wing space and provide access to very crude dressing rooms and the scene dock, based in old army huts outside. The orchestra pit and under- stage basement storage area were excavated.
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Designed in the Adirondack style by Harrison G. Wiseman and built by George Locke of Bridgton, the theatre was constructed of rose hemlock harvested on the property. The proscenium arch was made from whole tree trunks and the beams, doors, trim, and light fixtures were all handcarved. The building was designed so the entire auditorium with its pitched floor could be detached from the stage end and moved forward allowing an extra section with more seating inserted. It boasted a thirty- member orchestra pit, stage dimensions identical to the Metropolitan Opera House, and the best technical equipment of any theatre outside of New York.
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The GOC stage includes an proscenium arch, and about of staging area including an orchestra pit. This is larger than the normal platform for Prestonwood's church services, requiring removal of 1,000 seats from the lower seating area (reducing the overall seating capacity from the normal 7,000 during services to around 6,000). However, even with the reduced capacity, the still-large sanctuary provides a suitable venue for GOC performances (unobstructed sight-lines from every seat, with the farthest seat less than one-and-a-half times the width of the stage from the closest seat, along with lighting and sound quality the same in any seat).
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A Funny Thing Happened on the Way to the Forum opened on Broadway on May 8, 1962, at the Alvin Theatre, and then transferred to the Mark Hellinger Theatre and the Majestic Theatre, where the show closed on August 29, 1964, after 964 performances and 8 previews. The show's creators originally wanted Phil Silvers in the lead role of Pseudolus, but he turned them down, allegedly because he would have to perform onstage without his glasses, and his vision was so poor that he feared tripping into the orchestra pit. He is also quoted as turning down the role for being "Sgt. Bilko in a toga".
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The Théâtre de Neuve was a theatre in Geneva, Republic of Geneva. In 1783, the original theatre was replaced with a new stone building, the Théâtre de Neuve, designed by Pierre-David Matthey, with three tiers of boxes surrounding the orchestra seats and an audience capacity of 1000. Nevertheless, Its stage was cramped, with very little room in the wings, and the orchestra pit could not seat more than 30 musicians. At the eve of the French Revolution, as waves of political unrest rocked Geneva, the new theatre's function was still to entertain foreign officers sent as reinforcements and seats were primarily reserved for sponsors and shareholders.
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John Mauceri was Music Director of Pittsburgh Opera from 2000 until his resignation in 2006, to take up an academic post in North Carolina. In October 2006, Antony Walker was named the next Music Director of Pittsburgh Opera, and assumed the post immediately. Walker's initial contract was for 3 years, but has since been extended through the 2011-12 season. On April 1, 2008, in a performance of Verdi's Aïda at the Benedum Center, in the final act of the opera, Walker stepped in to sing the role of Radames from the orchestra pit, conducting at the same time, while the tenor acted the role on stage.
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Washington Concert Opera on stage at Lisner Auditorium, 2009 A concert performance or concert version is a performance of a musical theater or opera in concert form, without set design or costumes, and mostly without theatrical interaction between singers. Concert performances are commonly presented in concert halls without a theater stage, but occasionally also in opera houses when a scenic production is deemed too difficult or expensive. During a concert performance in an opera house, the orchestra does not play in the orchestra pit. Frequently, they play on the stage, with the choir (chorus) behind them and the soloists standing in front of them.
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The house originally had two small entrances in the section now occupied by the first on the right of the current access, which until the second half of the 1930s was taken up by three boxes in the first tier. The orchestra pit now has a moveable platform. When the pit is not required, the platform can be raised to the level of the stalls, allowing some rows of additional seats to be added to the front, increasing capacity by 104 to 1,126. The moveable platform, which consists of two elements, can also be completely or partially raised to the level of the stage in order to enlarge it.
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In 2013–2015, the Alley underwent a $46.5 million building renovation, the first major improvements since the building opened in 1968, including major improvements to the Hubbard Theatre, backstage area, and public spaces. The renovation was funded by private and public contributions to the Alley through the Extended Engagement Capital Campaign. Improvements included the installation of a new four-story fly loft, creation of a fully trapped stage floor allowing for an orchestra pit and actor and scenery entrances/exits, and a more intimate relationship between the audience’s seating area and the stage. New audience amenities included new seats, expanded restrooms and a new lobby space with a skyline view.
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An unusual feature of the theater is that the entire stage can turn through four complete revolutions at a speed of up to 0.5 rpm, thus allowing everyone in the audience to see every part of the stage at some points during a performance. None of the 2650 seats in the theater are more than 70 feet from the stage. The theater is equipped with an orchestra pit and can be reconfigured as a proscenium stage if necessary, although this reduces the seating capacity by 25% to 50%, depending on configuration. The theatre opened on January 13, 1964 with the musical "South Pacific" starring Betsy Palmer.
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The Orchestre de Chambre de Lausanne (OCL, Lausanne Chamber Orchestra) is a Swiss chamber orchestra based in Lausanne, Switzerland. As a partner of the Lausanne Opera, the OCL regularly appears in the orchestra pit during the opera season. The OCL is also the first Swiss orchestra to engage a composer in residence every two years. As part of its mission to promote music among young listeners, the orchestra offers a number varied concerts for families and schools, and it collaborates on a regular basis with musical institutions of higher learning in the city (the Haute Ecole de Musique de Lausanne and the Haute Ecole de Théâtre de Suisse Romande).
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It was designed both as a cinema and theatre complete with orchestra pit. It hosted shows and concerts as well as films. In the 1950s it was renamed the "ABC" in line with the group’s national branding policy and was the local venue of choice for the touring bands of the 60s including the Beatles in both March and November 1963 the Rolling Stones in 1965 and infamously PJ Proby in 1965 when he was arrested for splitting his trousers on stage! A number of the 60s bands have returned to play the Deco in recent years including the Hollies, the Searchers and Billy J Kramer.
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Since the latter part of the 19th century, opera houses often have an orchestra pit, where many orchestra players may be seated at a level below the audience, so that they can play without overwhelming the singing voices. This is especially true of Wagner's Bayreuth Festspielhaus where the pit is partially covered. The size of an opera orchestra varies, but for some operas, oratorios and other works, it may be very large; for some romantic period works (or for many of the operas of Richard Strauss), it can be more than 100 players. Similarly, an opera may have a large cast of characters, chorus, dancers and supernumeraries.
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While few changes were made to the exterior, the sloped flooring of the theatre had to be leveled and the interior redesigned for retail trade. The redesign, executed by architect Josh Comfort, retained many "historical details and finishes"; for example, some original red mohair-covered seats were retained in two rear balcony areas, and the original orchestra pit, accessed via a ramp, was filled with a display of "books on the performing arts". The backstage dressing rooms, rehearsal area, and offices made way for a restaurant and coffee shop. The development company received the 2006 Community Preservation Award from Historic Denver for the project.
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There were bowling alleys, pool tables, and an indoor track above the main floor. Designed for the use of 600 students, the gym housed a swimming pool on the ground floor that today is part of the orchestra pit, a men’s gym with a 1200-seat basketball court, a woman’s gym, and a third floor social hall. It was home to the Bradley Braves during the team's formative years and would remain as the primary home court until the team moved to Robertson Memorial Field House in 1949. The gym did not have an official name until 1958 when former professor and Vice President emeritus, Cecil M. Hewitt passed away.
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A new, larger gym was added in 1995, and a $21 million renovation project focused on science classrooms, the band and chorus rooms, and multimedia labs began in 2001 and ended in June 2003. alt= In 2011, East added the Institute for the Fine Arts, a specialized study program in vocal and instrumental music performance. In 2013, visual arts were added to the Institute's offerings, with theatre arts coming in 2015. In 2019, as part of the school's expanding offerings in fine arts, a series of renovations created an orchestra pit for the auditorium, turned former computer lab space into a dance/acting studio, and provided new art and design facilities.
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Anthony Amato Amato found a new permanent home in 1964 in a four-story building, next to a gas station and near the famous rock club CBGB, at 319 Bowery near Second Street, a former Mission House and restaurant supply store, which was converted into a theatre with rehearsal and storage space, 107-seats, a 20-foot stage and a tiny orchestra pit. Each season included five or six different operas, typically a mix of comedies and tragedies, and the repertory eventually expanded to over 60 operas. Each opera ran over five weekends, and the company used multiple rotating casts. Amato also mounted Saturday morning Opera-In-Brief performances.
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During the encore, an audience member pushed Zappa off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. This accident resulted in him using a wheelchair for an extended period, forcing him off the road for over half a year. Upon his return to the stage in September 1972, he was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage.
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During the encore, an audience member jealous because of his girlfriend's infatuation with Zappa pushed him off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage.
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Musical instrument scholar Stewart Pollens called the oval spinet "a tour de force of mechanical design, fully the product of Cristofori's inventive character."Pollens (1991, 79) Yet aside from the possible example by Goccini, the oval spinet did not catch on in Cristofori's day. As noted above, the impetus for the oval spinet may have been Prince Ferdinando's wish for a compact multi-choired harpsichord suited to the orchestra pit. It may be that the Prince was not satisfied with Cristofori's first efforts in this area, because later on in the 1690s, Cristofori created a different design, his spinettone ("large spinet"), which deployed multiple string choirs at an angle to the keyboard, following the basic principle of the spinet.
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A four girl cast consisting of Sophia Gennusa, Oona Laurence, Bailey Ryon, and Milly Shapiro played the titular role of Matilda. Shubert Theatre The transfer cost to produce; it opened as planned on 11 April 2013, with Sophia Gennusa playing the leading role. Small changes were made from the London production; some lyrics were changed to suit American audiences and more scenes used the orchestra pit/front stalls area of the theatre. The Broadway production also introduced an overture and pre-show curtain, as of June 2013. On 1 September 2013, Carvel and Ward played their final performances, Jill Paice joined the cast as Miss Honey and played her first performance on 3 September.
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The initial construction was usable as a cinema as well as a theatre and therefore had a stage house. In this room behind the screen of the great hall, the small hall was built. The orchestra pit of the great hall was restored, so that now music for films can be played live in a chamber orchestra line-up. In 1999 the Philipps cinema organ, at this time 70 years old, was restored, being the only cinema organ in Germany that is played at its original location. In May 2001 the reopening of the auditorium took place with the film Othello by Orson Welles.Claudia Fuchs (24 April 2001), "Der große Saal des „Babylon“ öffnet am 4. Mai". Berliner Zeitung.
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Brynner on the 1977 program cover In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977.
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The design of the auditorium embodies curved and unbroken surfaces to insure quality acoustics, and a resonance chamber was built as a floor to the orchestra pit, increasing and enriching the tone of the instruments. In spite of the size of the room and relatively large number of the audience, some shows, such as both of Tony Bennett's appearances at the theatre, are able to be performed entirely without microphones. The theater contains a Robert Morton theatre organ – one of only two of the same type still installed in its original location in the state. A white and gold console provides three 61 note manuals and 32 pedals to play 608 pipes arranged in eight ranks.
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The Assumpta Theater was constructed in 1999 and inaugurated in 2001 and is located on the campus of Assumption Antipolo. It was envisioned to be a major cultural seat in eastern Metro Manila and to serve as a venue for cultural education and development not only of its students, faculty and parents but also for members of outside communities and schools neighboring municipalities of the Rizal Province. The Assumpta Theater is home to modern light and sound equipment, 17 manual fly battens, a manual curtain system, a spacious stage area, an orchestra pit, fully air-conditioned dressing rooms, a docking area, stage wings, three-level seating arrangements, a lobby, and comfort rooms. The house area can accommodate 2,001 guests.
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When the theatre was built, sound films were a new technology and the theater was built with the intention of screening sound films. However, the plans included both an orchestra pit and organ chambers if sound films failed and silent film accompaniment was needed. Photos of the theater in the year it was built show "Western Electric Sound System" and "Vitaphone" advertised on the marquee. The first known silent film presentation at the Music Box theatre was "Wings" in 1983 using the operators home theatre organ and accompanied by Barbara Sellers, the daughter of Preston and Edna Sellers who were Chicago Silent Film and radio theatre organ personalities of the 1920s – 1940s.
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The English stage, unlike French or Italian theatres, had a very deep apron to provide adequate acting space, and the background and perspective scenery served as solely as scenery. The Lincoln's Inn Fields Playhouse orchestra was housed beneath the stage, and the apron was extended two feet to cover completely the orchestra pit and obtain close proximity between the actors and the audience, creating an intimate atmosphere. Another uniqueness of English theatres is that there were typically two pairs of doors, one on each side of the stage, called proscenium doors with balconies above them for the actors to utilize in performances. Proscenium doors served as entrances and exits disregarding the possibility of multiple locations.
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For a more detailed article on the opera house, see Sarasota Opera House Recognizing the need for a larger theater with an orchestra pit, the guild purchased the then-closed A. B. Edwards Theatre, which had been renamed as the Florida Theatre in December 1936. The theater had been built in 1926 by an important early resident of Sarasota, Arthur Britton Edwards, as a versatile performance venue that could be adapted for vaudeville or as a movie house. The guild members renovated the building beginning in 1982. The next year the A. B. Edwards Theatre was listed on the National Register of Historic Places, and was reopened as the Sarasota Theatre of the Arts in 1984.
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One evening when Preobrajenskaya danced the role of Lise, her rival Kschessinskaya let all of the chickens out of their coops during her variation, with many of them landing in the orchestra pit and even on the laps of many of the musicians. Preobrajenskaya kept on dancing as if nothing happened. The difficulties brought upon the Russian ballet as a result of the 1917 revolution caused a substantial number of works in the Imperial Ballet's repertory to cease being performed and eventually become lost. The Imperial Ballet's production of La Fille mal gardée was performed for the last time on , only one month prior to the October revolution, with the ballerina Elsa Vill as Lise.
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The total cost of the project reached $62 million and took three years to complete, opening in April 2003. The New Yorker calls it "[possibly] the best small concert hall in the United States." West profile in winter 2005 Summertime view The Sosnoff Theater, an intimate, 900-seat theater with an orchestra, parterre, and two balcony sections, features an orchestra pit for opera and acoustics designed by Yasuhisa Toyota, including an acoustic shell that turns the theater into a concert hall for performances of chamber and symphonic music. The smaller of the two theaters is the flexible 200-seat LUMA Theater, which houses Bard's Theater and Dance Programs during the academic year.
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It also included the demolition of the Vocational Building, which concluded in July 2010, and the construction of the Career Tech Building, completed in September 2011. The largest addition of Phase I, which was completed in March 2010, was the fine arts wing, which included a band room, chorus room, art rooms, 986-seat theatre/auditorium with an orchestra pit that can be raised and lowered electronically, music theory and music ensemble rooms, theatre classroom, and dressing rooms. Soil testing was performed in late September 2008, and groundbreaking for the fine arts wing occurred in December 2008. Construction on Phase I and Phase II is now complete, and the band moved into its new home in March 2010.
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The original Broadway production, directed by Edgar MacGregor and choreographed by Bobby Connolly, opened on September 6, 1927 at The 46th Street Theatre, where it ran for 557 performances, which was a very successful run, as few Broadway shows had reached 500 performances since 1919's Irene. The cast included John Price Jones as Tom Marlowe, Mary Lawlor as Connie Lane, Gus Shy as Bobby Randall, Inez Courtney as Babe O'Day, and Zelma O'Neal as Flo. Donald Oenslager designed the production's sets. To emphasize the collegiate atmosphere, ushers wore jerseys, and George Olsen's band (featured as the "College Band") reached the orchestra pit by running down the aisles as they shouted college cheers.
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The traditional view given by the Grove is not corroborated by any reliable source and is challenged by Albrecht (2005), who suggests that the flutist Anton Dreyssig played Tamino's flute music from the orchestra pit, with Schack miming his playing, as tenors generally do today. An 1815 source indicates that Schack sang the role a total of 116 times.The Baierisches Musik-Lexicon by Felix Joseph Lipowsky, cited in Deutsch 1965, 514 Only two months after the Magic Flute premiere, Mozart died. According to a story that first appeared in an anonymous obituary of Schack (1827), the two men participated in a rehearsal of Mozart's Requiem on the last day of Mozart's life.
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The salon is named for Juan José de los Santos Casacuberta, the preeminent performer of the nineteenth century Argentine stage, and perhaps the first classically trained actor in local dramatic history. It can accommodate 566 persons and includes a semicircular orchestra divided into three radial sectors. A platform can be extended forward for a drawbridge scenario, or to raise the orchestra pit onto the stage, 35 meters wide and 6 deep. The lobby of this salon is graced by a mural (35 by 11 meters) by Luis Seoane, titled The Birth of the Argentine Theater, and completed in 1960, as well as allegorical terracotta reliefs by sculptor Carlos de la Cárcova and a steel sculpture (Continuity) by Enio Iommi.
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The ornaments throughout the theater were gold on a white ground, and the fronts of the boxes represented a chase beginning on the lowest front, and continuing on the other two, turning alternately from right to left and from left to right. The top of the stage was adorned with portraits of Washington and Lafayette with the arms of New York State and the United States. The orchestra pit, surrounded by an open balustrade, was twelve feet by twenty-seven, with a double floor and a sounding chamber to increase the body of tone, especially of the cellos and basses. The stage was ninety-five feet wide by eighty-seven deep, and forty-seven feet across the proscenium.
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The orchestra pit is one of the largest in any opera house, with room for 110 musicians; the structure provides excellent sound quality for the orchestra. If the pit is filled, some musicians are located just below the front of the stage, which has become controversial among some members of the orchestra (according to tour guides in 2005), because this increases the sound levels, beyond those acceptable in Denmark. However, the overhang is very slight and the authorities have permitted this to happen. During construction of the theatre, some acoustic tests were carried out with the fire curtain in place while technical work was carried out on stage, but great consideration was given to balance between pit and stage.
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Sir Alexander Gibson's mission was to make classical music and opera accessible to all, and throughout his career he devotedly encouraged musicians and singers to rise to the very best of their abilities. His discography is detailed in the biography of him by Conrad Wilson, as are the numerous premieres, concert works and operas he conducted. In the Theatre Royal, Glasgow there is a lofty portrait of him in the orchestra pit perched on a stool, painted by David Donaldson, the Queen's Limner in Scotland, and a bust of him as conductor by the sculptor Archie Forrest. A street in his home town of Motherwell, is named Alexander Gibson Way in his honour.
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Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra.
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The headline act on opening night was The Bachelors. James and Betty Corrigan had traveled to Las Vegas to research how the clubs worked there in order to work out a design for Batley. The ground floor of the club was excavated so that on entering, the public would walk down to their tables which would be arranged in tiers, five in all, forming a horseshoe embracing the stage from the bottom up, thus giving the audience unobstructed views. The ceilings were low, offering an intimate atmosphere, and the resident band was situated at the back of the stage rather than in a traditional orchestra pit so that the artistes could be closer to the audience.
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The 80's also saw the movement away from strict 8 to 5 step size to the usage of a constantly changing step size. With the addition of new musical elements, the 80's also saw the addition of the "Front Ensemble" or "Pit", a derivation of the orchestra pit used for ballet and opera. In marching band, the pit is used to incorporate keyboard percussion such as xylophone, marimba, and vibraphone, as well as other color percussion instruments such as tympani, cymbals, hand drums, drum set, and tambourine. The 1990s observed increased usage of dance with the color guard, more usage of props and backdrops, increased usage of pit percussion, and generally an increase of the physical demands of the band members.
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Typically, pit orchestras play in a lowered area in front of the stage called an orchestra pit. Inside the pit, the conductor stands facing towards the stage with his or her back towards the audience to coordinate the music with the vocals and actions of the singers, dancers and actors, while the orchestra sits facing the conductor. The conductor may also sit at one or more keyboards and conduct as well as play, which often means the use of more head and facial gestures rather than hand gestures. This is often the case when a show only requires a small orchestra, or on national tours, where the instrumentation is often reduced from the original arrangement and one or two keyboard players substitute for several instruments.
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Construction on the building was completed in 1894, and Alexander Hall held its first annual Commencement ceremony on June 13 of that year. Although Alexander Hall initially functioned as a space for hosting private University affairs — including commencement, faculty meetings, and popular talks — the space was renovated and expanded into a professional-class performance hall in the 1980s following a large donation from David Richardson (Class of 1966) and growing needs on campus for a proper performing space. In 1984, the auditorium within Alexander Hall was officially renamed to Richardson Auditorium. Following its renovation in the 1980s, the hall now boasts an elevator-mounted orchestra pit, sound reflectors for improved acoustics, humidity-controlled instrument storage, and a unique Tiffany Glass mosaic named "Homeric Story".
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The organ room, 1 August 2006 As an annex to the organ room, the Christies built a fully equipped and up-to-date theatre with a 300-seat auditorium and an orchestra pit capable of holding a symphony orchestra. Christie engaged conductor Fritz Busch as the first music director, Carl Ebert, the Intendant of Berlin's Städtische Oper as artistic director, and Rudolf Bing became general manager until 1949. All three men were exiles from Nazi Germany. After extensive rehearsals, the first six-week season opened on 28 May 1934 with a performance of Le nozze di Figaro followed by Così fan tutte. Boyd Neel had conducted the first music heard in the renovated Glyndebourne opera house in 1934, in private performances, at John Christie's invitation.
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The Willard Arts Center, of which the renovated Colonial Theater is part After the citizens of Idaho Falls voted to change the city's name, in 1891, residents began talking about building a theater which could host vaudeville acts, road shows, and musical performances. In 1919, three local men, C.A. Spath of the Farmers and Merchant Bank, Dr. C.M., Cline, and S.K. Mittry, a local contractor, put up the money and materials to build the Colonial Theater, at a final cost of $175,000. The structure was built of steel, reinforced concrete, and brick, with a handsomely designed ivory colored terracotta front. It was billed as the largest theater in the Intermountain West, with an orchestra pit, eight dressing rooms, and 1,400 leather-upholstered mahogany seats.
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In 1959, a movement began towards constructing the present-day Big School building, which was designed by Booth, Ledeboer, and Pinckheard and eventually opened in 1966. The new building was hexagonal, with a stage and orchestra pit at one end and an altar (given by Magdalen College) in a chapel area at the other, as well as an acoustic-panelled ceiling and a cluster of lighting. With the opening of the new Big School, the old Big School became the school's gymnasium. With the stage removed, the floor replaced, a wall removed to connect the hall with the adjoining classroom, and with the addition of wallbars and gym apparatus, this 'temporary' building began a new phase in its long history.
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Quartett - interview to Luca Francesconi, Teatro alla Scala, Season 2010/2011Tom Service, Luca Francesconi: do you dare go to his opera?, The Guardian, 19 June 2014 The opera has a single act, thirteen scenes, and lasts a total of an hour and twenty minutes. Only two characters on stage, a small orchestra in the orchestra pit, a large orchestra and choir off-stage (available as a recording effected at the Scala in Milan), and electronics (Studio Ircam, Serge Lemouton: live and pre-recorded sounds). The stage direction at the Scala was entrusted to Alex Olle of La Fura dels Baus, who concentrated the action in a huge box suspended twelve metres above the stage, projecting onto the full breadth of the backdrop videos representing the outside world.
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The main hallway on the production level has an extra wide and high ceiling for the entire length which matches the size of the scenery shop and stage doors on the Playhouse and Festival theaters. This allows completed scenery to be moved directly from the scenery shop to the stages without the need to break apart and reassemble on the stage. All three large stages have Stage Lifts (Hydraulic lifts replaced in 1999 with "Gala" Spira-Lifts) that can be used to create a recessed orchestra pit, hold additional seating, or extend the stage depending on the need of a particular performance. The Great Hall also has two retractable rear walls in the balcony which holds an additional two rows of seating behind the stage.
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A theater may share similar functions but normally have a larger stage, partial or full height fly loft, an orchestra pit, and a higher level of theatre equipment and systems. A black box theater is also a space devoted to performances and rehearsals, although in a smaller setting and without a formal stage. A school theater also supports drama and other educational programs that involve producing a performance, including students learning to operate the theatre equipment, rigging, and sound and light systems. These differ from non school-based theaters as they may include additional safety features and space for instructors to demonstrate to students, as individuals or groups, in areas that normally might be sized or configured to have only one or a very few experienced operators.
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Smith, Graeme (2011), Alhambra Glasgow Glasgow Publication. Live performances in music, dance and comedy were transmitted across Scotland and networked to ITV areas south of the border. STV also transmitted concerts and operas from other venues and became the first and largest sponsors of Scottish Opera started by Sir Alexander Gibson in 1962 In 1974, Scottish Television moved to custom-built premises next door and offered the Theatre Royal to Scottish Opera who bought it with public support, converting it to become its home theatre and Scotland's first national opera house. A major rebuild and refurbishment ensued, involving the creation of an enlarged foyer, new main staircase, orchestra pit enlarged to accommodate 100 players, extended backstage areas and modernised dressing rooms.
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"Aux Roches, les riches vont à l'école". Ouest-France. 12 September 2015.Lalay, Jean-Christophe. "Dans l’Eure, une école pour enfants très riches". Ouest-France. 11 September 2015. GEMS invested €5million for a five-year large-scale expansion, redevelopment, and modernization of the school, making additions including new class buildings and dormitories, a school restaurant, a large entertainment auditorium featuring a theatre with a symphony orchestra pit, a music studio, and a large sports complex. The sports complex included an Olympic swimming pool, ice rinks, 14 tennis courts, numerous sports fields for football, rugby, and squash, martial arts studios, and karting tracks; and a rebuild of the school's runway to re-open its flight training.Laïdi, Malik. "Dubaï fait rêver l’École des Roches".
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There were also plans for a large theatre to improve the performing arts facilities, known as "The Venue". The Venue is a professional-standard theatre with 380 seats, backstage and front of house facilities, including a bar. Technically, the theatre is equipped with “a 12m x 9m stage, fly tower, orchestra pit, Green Room, state-of-the-art sound system and lighting rig”.Walton High Website: The Venue Completed in May 2011, The Venue opened with a showing of Walton High’s student production of Hairspray."The Venue" Theatre Website The Venue is utilised for school productions, as well as professional touring productions and those of Performing Arts Schools in the regionThe Venue MK, as well as housing the school’s English and Performing Arts departments.
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The Englerts purchased a lot on Washington Street and built yet another motion picture venue, Garden Theatre. They opened it in June 1915, charging an admission of 5¢, equal to about $1.25 during 2012. Unlike the Englert, Garden Theatre was purely a movie venue, with a minimal stage and without an orchestra pit or tall scenery storage area. A decade later, a fire that started in an upstairs cafe seriously damaged that foodservice and the adjoining rooms housing the State Historical Society of Iowa, although the Garden continued operations on the main level with little damage. It eventually was remodeled into Varsity Theatre (1932–1960), which became Astro Theatre; Astro Theatre closed in 1991 as local movie houses took hold in outlying shopping centers.
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If each of the British country house opera companies have their speciality, Longborough’s is its commitment to Wagner. Longborough Festival Opera (LFO) is the first privately-owned opera house to be mounting a complete cycle of Wagner’s Ring. After LFO’s acclaimed production of the reduced version prepared by Graham Vick and Jonathan Dove for the City of Birmingham Touring Opera company, Longborough is now producing a fully orchestrated version making use of its excellent orchestra pit, which is modelled on that at the Bayreuth Festspielhaus and accommodates 72 players. The 2007 season featured the first instalment of a new full-length Ring Cycle: Das Rheingold was sung in German and had an orchestra of 60 players conducted by Anthony Negus.
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The main stage in the auditorium is of Proscenium design with also an orchestra pit which can be mechanically raised to technically change the staging design to that of a thrust stage. The 60-seat studio space (which often doubles as a rehearsal room) is a flexible acting space, capable of almost any stage setup. The theatre is often hired by outside amateur theatre groups who pay to use the theatre and its facilities; there are only two internal groups within the theatre that use the main stage, these are the Newport Playgoers and Dolman Theatre Works (the junior branch of Newport Playgoers, for ages 11–18). This later became PNG (Playgoers New Generation) which performed both main stage and studio performances.
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The centre has been proposed as the home to the Newport Ship, a 15th-century vessel found immersed in the mud banks of the River Usk, although it has been suggested that the basement space may be too small to view the ship in its entirety. The remains of the ship were discovered whilst excavating for the orchestra pit for the Theatre. Around 25 metres long and dating from 1465 the find's importance has been equated to that of the Mary Rose. During its six-month excavation, a vast new exhibition space was designed and built in self-compacting waterproof concrete beneath the foyer to house and display the discoveries, presenting the ship's unearthing, its history and eventually the fully conserved ship itself.
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The theatre's present auditorium is still basically the original from cinema times, apart from the modifications noted above. It is slightly unusual because it is a little narrower at the front (previously the screen, now the stage and orchestra pit) than it is at the rear (where the audience enters), which is why rows in the front half of the theatre have one fewer seat than those towards the back. Also, half of Row "F" is missing to allow for the Fire Exit at the side of the auditorium. For many years the theatre did not have its own licensed bar, so some of the audience would visit one of the public houses either side of the theatre before shows and during the interval.
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Commemorative plaque in the Brighton Centre foyer Following his recovery from a life-threatening fungal infection of his right lung in January 1974, Crosby emerged from semi-retirement to start a new spate of albums and concerts. In March 1977, after videotaping a concert at the Ambassador Auditorium in Pasadena for CBS to commemorate his 50th anniversary in show business, and with Bob Hope looking on, Crosby fell off the stage into an orchestra pit, rupturing a disc in his back requiring a month in the hospital. His first performance after the accident was his last American concert, on August 16, 1977 (the day singer Elvis Presley died). When the electric power failed during his performance, he continued singing without amplification.
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"Current TV Orders Stephanie Miller Documentary Special", Broadway World, July 31, 2012Anderson, Kelly - "The Sexy Liberal Comedy Tour comes to Current TV", Real Screen, August 1, 2012 The idea for the Sexy Liberal Tour originated in-studio during a live radio broadcast with Miller and John Fugelsang in 2011. The goal was to do a concert in Madison, Wisconsin to raise money for the recall of Wisconsin Governor Scott Walker. Tickets went on sale two weeks prior to the show date and were sold out within four days. On July 24, 2016, during a performance of the Sexy Liberal Comedy Tour in Philadelphia in conjunction with the 2016 Democratic National Convention, Miller fell off the stage at the Walnut Street Theatre, falling into the orchestra pit.
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The music curricula consists of performing ensembles, including the Prospect: Concert Band, Symphonic Band, Marching Knights, Jazz Ensemble I & II, Symphony Orchestra, Chamber Orchestra, Pit Orchestra, Concert Choir, Treble Choir, Varsity Choir Honors Choir, Jazz Choir, and Mixed company. In 2009 and 2010, The Prospect Music Department was named a "Signature School" Finalist by the Grammy Foundations. In 2011, the school was awarded Grammy Signature Gold Status, placing it among the top seven high school music departments in the country. Music students at Prospect are consistently selected for District, All-State, and All-State Honors Band, Orchestra, and Choir. in 2007, Prospect Marching Knights, Symphony Orchestra, and Chamber Choir were invited to perform in the 2008/2009 London New Year's Day Parade and Gala Concerts.
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With Richard in exclusive charge of songwriting and singing, James played hurdy-gurdy and various keyboards while other contributors included Paul Westwood (hammer dulcimer, ex-Foe/Geiger Counter), composer Terry Mann (double bass/vocals - and the Larcombe's brother-in-law) and Mark Braby (bass – organiser of The Orchestra Pit avant-garde performance nights in London). The band released a single eponymous three-song EP ("Bad Penny Said She Likes Me", "Lift Up What You're Wearing" and "King Of A Frozen World") which initially came out on the "Four Seasons Singles Club – Summer 2001" box set (day Release Records) and was subsequently issued separately by the band. A fourth song ("I’m Ruining Something") appeared on the House of Stairs Useless In Bed Vol. 1 2002 compilation.
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The "Theatre" was initially adaptable for thrust stage, proscenium, and caliper formations, and was used for dramatic presentations until 1982, when it was redesigned by The Thom Partnership (Toronto) and the Theatre Projects Consultants. During the -million renovation, the thrust stage was removed, a balcony and boxes helped increase seating, and an optional orchestra pit was provided. It reopened on 19 March 1983 as the Bluma Appel Theatre, in honour of a major donor, Bluma Appel. Additional restorations to the Centre's theatres and exterior were completed in 2007 by 3rd Uncle Design Inc (Toronto); the -million construction cost was shared by the city and the Centre's patrons. The Bluma Appel Theatre has been the Canadian Stage Company’s main stage for over 25 years.
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Thanks to assiduous care, the theater space, even of medium size, has come to this day still intact with its neo-classical style, which makes it one of the most beautiful historic theaters in Tuscany. The theater is built according to the specifications of the nineteenth century Italian theaters, the main architectural features are the construction of the hall with a plant horseshoe, the elimination of the bleachers in favor of in favor of more box tiers, and the enlargement of the stage in favor of the new perspective wings. In the theater there are a total of 400 seats, divided in 190 seats in the stalls and in four tiers of boxes. There is also a small orchestra pit.
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Place de la Concorde, 1875, oil on canvas, by Edgar Degas, Hermitage Museum, St. Petersburg Blurring the distinction between portraiture and genre pieces, he painted his bassoonist friend, Désiré Dihau, in The Orchestra of the Opera (1868–69) as one of fourteen musicians in an orchestra pit, viewed as though by a member of the audience. Above the musicians can be seen only the legs and tutus of the dancers onstage, their figures cropped by the edge of the painting. Art historian Charles Stuckey has compared the viewpoint to that of a distracted spectator at a ballet, and says that "it is Degas' fascination with the depiction of movement, including the movement of a spectator's eyes as during a random glance, that is properly speaking 'Impressionist'."Guillaud and Guillaud 1985, p.
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In 1900, well-known expatriate American theatrical producer, James Cassius Williamson, took over the lease of the theatre and engaged architect William Pitt to supervise renovations. The stage was lowered by 60 centimetres and the stalls and orchestra pit raised by almost 30 centimetres. The Dress Circle was remodelled and new boxes added. Seats were re-upholstered, re-painting carried out and a new stage curtain and new stage lighting installed. The theatre, re-vamped and re-christened Her Majesty's Theatre in honour of Queen Victoria, re-opened with a production of Gilbert and Sullivan’s HMS Pinafore on 19 May. In 1909, after a private sound test, Dame Nellie Melba, by then an international star, declared that the theatre’s acoustics were "dead" and that she would not perform unless they were altered.
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For this production, conventions of the mid-17th-century English theatre, when Tate's Lear was popular, were used in the staging, such as raked stage covered with green felt (as was the custom for tragedies),Howard Kissell, "King Lear for Optimists," Women's Wear Daily, 22 March 1985. footlights used for illumination on an apron stage (or curved proscenium stage), and period costumes drawn from the era of David Garrick. Musical interludes were sung by cast members during the act breaks, accompanied by a harpsichord in the orchestra pit before the stage. The production was directed by the company's artistic director, W. Stuart McDowell, and featured Eric Hoffmann in the role of Lear, and supported by an Equity company of fifteen, including Frank Muller in the role of the Bastard Edmund.
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His study of the piano began at the age of four, played tenor drum in the orchestra pit of The King And I at the age of five which his father was conducting, and performed his first composition in concert at the age of eleven. He won a second prize medal for piano solo from the New York State Music Awards at fifteen and subsequently toured with a series of rock 'n' roll bands including Man on CBS Records and Jobriath on Elektra Records. As a composer, Wayne opened a new theater for the Mark Taper Forum in Los Angeles with his metaphorical circus Wire, won national first place (1987) from the National Institute for Music Theater with NEON (A Street Opera). In 2002, NEON won a 25,000 DM prize in the Prague Opera Competition.
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The interior of the theater was originally described as being decorated in a Neo-Grec style, with the auditorium's first floor containing a parterre, orchestra pit, and one gallery. The ceiling was described as having large ornate cornices with 8 lunettes forming vaults, each ornately decorated with muses and cherubs by Frank Hill Smith, leading up into a shallower gadrooned flat dome with a rosace-shaped grate which served as the ventilation for the theater, with a large brass chandelier hanging from its center. Much of the ornamental work, such as capitals, was executed in papier-mâché. A large renovation and reconstruction of the auditorium gallery was undertaken between May and September of 1894, with a rededication on September 22, 1894, featuring a performance by Alessandro Salvini, and attended by Governor William Russell.
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The following month the opera company of La Scala appeared there on tour with Maria Callas in La sonnambula. The Cologne Opera House occasionally hosts solo recitals and special events; one remarkable such event was concert by jazz pianist Keith Jarrett in 1975 which was recorded and became one of the most popular solo jazz piano recordings of all time, known as The Köln Concert. The house has a seating capacity of 1,300 and an orchestra pit which can accommodate 100 musicians. It is part of an arts complex on OffenbachplatzOffenbach Square, named for the composer Jacques Offenbach which includes the Schauspiel Köln (Cologne Playhouse), also designed by Wilhelm Riphahn and built in 1962. At the end of the 2009/2010 season, both theatres closed for extensive refurbishment and redevelopment.
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The initial seating capacity was 1500. The original configuration allowed for an orchestra pit around the screen area. The Waterman family, who owned Ozone Theatres Ltd, purchased National Pictures Ltd in 1928. The cinema was adapted for "talkies" when they became available in 1929, and in 1940–41 a substantial upgrade to an Art Deco was undertaken by Frank Kenneth Milne Architect (1885–1980) under the direction of the Waterman family. It reopened as the Ozone Marryatville on 30 May 1941, with a reduced seating capacity of 1145, or up to 1490, according to The News, which also reports that it only shut completely for a period of one week. The 1941 refurbishment included new facilities and internal structures, including a function room, parents' room and facilities for the hearing-impaired.
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Included are more than 200,000 printed and electronic books, an excellent reference collection, a large DVD and CD collection and numerous full-text databases for all academic disciplines. Notable digital collections include JSTOR, Project Muse, the Archive of Americana, the Burney 17th and 18th Century British Newspapers, the London Times Digital Archives, PsycArticles, MathSciNet, ATLAS Religion Database, CINAHL, ReferenceUSA, Access World News, plus many more in addition to the various databases available through GALILEO. Price Theater Completed in 1975, this building features a 280-seat proscenium theater with 36 fly lines, eight electrics (including four beam positions over the auditorium) and a hydraulic orchestra pit. It also houses the Theatre Arts program, including faculty offices, a scenery workshop, dressing rooms, a costume shop, an actors' lounge and a Black Box Theatre.
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The Theatre Royal at Drury Lane in 1813. The platform stage is gone and the orchestra pit divides the actors from the audience. Theatres and theatrical scenery became ever more elaborate in the 19th century, and the acting editions used were progressively cut and restructured to emphasize more and more the soliloquies and the stars, at the expense of pace and action.See, for example, the 19th century playwright W. S. Gilbert's essay, Unappreciated Shakespeare , from Foggerty's Fairy and Other Tales Performances were further slowed by the need for frequent pauses to change the scenery, creating a perceived need for even more cuts in order to keep performance length within tolerable limits; it became a generally accepted maxim that Shakespeare's plays were too long to be performed without substantial cuts.
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The new theatre was designed to be less susceptible to fire, with brick firewalls, iron roof trusses and Dennett's patent gypsum-cement floors. The auditorium had four tiers, with a stage large enough for the greatest spectaculars. For opera, the theatre seated 1,890, and for plays, with the orchestra pit removed, 2,500. As a result of a dispute over the rent between Dudley and Mapleson,"English Gossip". New York Times, 23 December 1873, accessed 31 January 2008 and a decline in the popularity of ballet, the theatre remained dark until 1874, when it was sold to a Revivalist Christian group for £31,000. Mapleson returned to Her Majesty's in 1877 and 1878, after a disastrous attempt to build a 2,000-seat National Opera House on a site subsequently used for the building of Scotland Yard.
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Apart from the creation of the orchestra pit, suggested by Verdi in 1872, the installation of electricity in 1890, the subsequent abolition of the central chandelier, and the construction of the new foyer and a new wing for dressing rooms, the theatre underwent no substantial changes until repair of the bombing damage in 1943. During World War II the opera house was damaged by bombs. Following the liberation of Naples in October 1943, Peter Francis of the Royal Artillery organized repairs to the damaged foyer and, three weeks later, reopened the building with a musical revue. With the building in a fit state for performances, more musicians and singers made themselves available and the first opera performance was held on 26 December 1943, a matinee presentation of Puccini's La bohème.
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Between 1997 and 2001, there systematic changes to the buildings interiors, that included the substitution of the electrical systems, the construction of new washrooms on all floors, the substitution of water supply, security and fire protection systems, the repair of the roof, recuperation of the dressing rooms on five floors and the elaboration of a new aesthetic with the building. Moving and scenic lighting equipment were upgraded, the heating network was recovered and improved, an electronic subtitling system (with simultaneous translation in two languages) and an electronic ticket office were installed. The auditorium was completely rebuilt to improve the acoustics and the visibility of the spectators, while a warehouse was built under the auditorium. A second orchestra pit and a new circus track were installed on a hydraulic lifting plate.
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Located in the central part of viale Boccetta, which represents the first access road for motorists coming from the A20 and A18 motorways to the city of Messina, it is therefore necessarily a first visiting card on its architecture that the city offers visitors. Consisting of three buildings destined to house offices for culture, the largest city library, an 850-seat theater with 4 audiences, orchestra pit and booths for the television broadcasting of events, an auditorium for outdoor music, among the largest and most modern in Italy, and still an exhibition hall located on the terrace of the building's body B. The inverted pyramid structure was obtained by exploiting the considerable flexibility offered by materials such as concrete and steel, obviously taking into account that Messina is a 1st category seismic zone.
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The theatre closed at the end of May 2005 for a major refurbishment, transformation, and it reopened on 7 October 2006 with a production of Verdi's Rigoletto. The Stalls area was completely re-seated and re-raked, the orchestra-pit enlarged, technical facilities dramatically improved, and improvements to Opera North to the south of the theatre, accessible via a bridge and at street-level, which includes two new stage-sized rehearsal spaces and increased office space. The cost of the refurbishment has been estimated at £31.5 million. A second phase of transformation included the restoration of the Assembly Rooms, making a second performance space, the Howard Assembly Room, which is used for recitals, concerts, chamber operas, experimental and educational work and other events for which the main theatre is unsuitable.
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Willard Straight Hall has always served as an space for socializing and informal connection between students. Over the years the building has evolved and changed significantly. At various times the building has featured an information desk, a Game Room with billiards and ping pong, a Browsing Library, a tea room (for women), a barber shop, movie theater, dining halls, an Art Room, a Music Room, a lost-and-found, a newsstand, a live performance theatre with orchestra pit and rotating stage, a ceramics studio, an ice cream shop, television lounges, spaces for meetings and coffeehouses, and offices for student organizations. The Ivy Room was originally built as a mess hall for servicemen during World War II. The building once held guest rooms on the fifth floor for alumni and visitors.
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Boston Ballet embarked on its first tour to Seoul, Korea in the summer of 2008, presenting a range of works by George Balanchine, Twyla Tharp, and Christopher Wheeldon, never before seen by Korean audiences. In fall 2009, Boston Ballet's sole performance venue became the Boston Opera House. Located in the Boston Theater District, this 2,500-seat theater provides clear sightlines and has a newly renovated orchestra pit. Boston Ballet maintains a repertoire that combines classics such as Marius Petipa’s The Sleeping Beauty and August Bournonville’s La Sylphide; along with contemporary versions of classics, such as Mikko Nissinen’s Swan Lake, and John Cranko’s Romeo and Juliet; plus with new works by contemporary choreographers including William Forsythe, Jirí Kylián, Mark Morris, David Dawson, Val Caniparoli, Christopher Wheeldon, and Helen Pickett.
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A romance develops between the married Eubie Blake and the show's leading lady, Lottie Gee, a veteran vaudeville performer who finally got her chance to star in the show. The creatives discuss whether or not to include a love song and embrace between the two black leads, a controversial experiment that had been received with tar and feathers in the few instances where it had been tried before; fortunately, the audiences accept it. Arriving in New York during the Depression of 1920–21, Shuffle Along is deep in debt and struggles to raise money. It faces stiff competition on Broadway in a season that includes surefire hits from Florenz Ziegfeld, Jr. and George White, and it was relegated to a remote theater on West 63rd Street with no orchestra pit.
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He has collaborated with, and conducted for, a wide range of singers, ranging from Dame Julie Andrews to Etta James. In August, 2012, he was appointed Music Director and Principal Conductor of Ballet San Jose, for whom he will conduct all 2012-2013 performances with Symphony Silicon Valley in the orchestra pit, including new productions of The Nutcracker and full-length Don Quixote, as well as such pieces of mixed repertoire as Sir Frederick Ashton's "Lez Rendez-vous" and "Thais Pas de Deux," and Clark Tippet's "Bruch Violin Concerto." In 2016, he was appointed Music Director and Principal Conductor of the iconic and legendary Les Ballets Trockadero de Monte Carlo and made his debut with the company in March, 2017, in performances in the Opera House of the John F. Kennedy Center for the Performing Arts.
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The orchestra's size is about the size employed for early 19th-century opera: 2 flutes (one doubling piccolo), 2 oboes (both doubling oboe d'amore), 2 clarinets, bass clarinet, 2 bassoons, 2 french horns, 2 trumpets, 2 trombones, tuba, percussion (3 players), celesta (doubling synthesizer), 12 violas, 8 celli, 6 double basses. Since the Stuttgart State Opera house was being restored in 1984 and the orchestra pit of the ' at the Stuttgart State Theatre, where the premiere was to take place, was considerably smaller, Glass chose to completely leave out the violins (about 20), giving the orchestra a darker, sombre character, which fits the subject. Apart from this, this was Glass's most "conventional" opera orchestra until then (compared to Einstein on the Beach, written for the six-piece Philip Glass Ensemble, and Satyagraha, scored for woodwinds and strings only).
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Moon Over Buffalo relies heavily on situation comedy for its humor, as well as some sexual innuendo and a little slapstick. The actor who plays George, in particular, must be able to deliver a highly physical performance; George engages in a mock fencing match with Charlotte, a wrestling match with Howard, and a stunt fall into the orchestra pit. The action and dialogue are fast- paced, as the characters are constantly bickering or frantically trying to resolve some confusion. It bears numerous similarities to Ludwig's previous farce, Lend Me A Tenor: period time-frame, Northeastern city, drinking-and- womanizing male star, justifiably jealous wife, young stage manager desperately trying to keep things together, important person(s) in the audience, at least one character who's passed out and is believed missing, non-actors forced to go onstage, etc.
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Ben Drew aka Plan B (musician) grew up in Forest Gate and lived in Hampton Road on the Woodgrange Estate. Depeche Mode started recording in John Bassett's studio on Sebert Road. Damnably Records began in Forest Gate on Salisbury Road and many of its bands including Shonen Knife, Geoff Farina, Chris Brokaw, Wussy stayed or visited there while on tour and Kath Bloom played a house concert there in 2011. Also based in the same E7 cul de sac that Damnably Records once called home are Vacilando '68 Recordings (previously operating as The Orchestra Pit Recording Co.) who have released vinyl records by international artists such as Howe Gelb, Orkesta Mendoza, Marianne Dissard and Naim Amor, as well as having a heavy involvement in the Medway music scene through the likes of The Singing Loins, Theatre Royal and Stuart Turner and the Flat Earth Society.
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Three nights of preview performances had been cancelled, losing $36,000 in ticket sales, but two day's worth of Jacob's fixes allowed the show to open on the fourth preview night. Jacob stayed with the production, arguing for further improvements to the sound such as uncovering the orchestra pit which had been sealed by Taplin for isolation reasons but had been stifling the musicians with heat, and was giving a muffled sound to the instruments. He also replaced the insufficient JBL Paragon home hifi loudspeakers with the McCune JM3, rigging two over the proscenium, and flanking the stage with two more to bring the spatial imaging down to the level of the performers. During this time, Jacob developed a lasting relationship with Masque Sound's John "Jack" Shearing, a New York sound company owner who was friendly with the Broadway union stagehands of IATSE Local 1.
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The Paramount Theatre on Oxford Street, Manchester, opened on 6 October 1930, showing The Love Parade, and featuring a variety show on stage. The theatre was built for the Paramount Film Company of America, and was designed by Frank Verity and S. Beverley (now known as Verity & Beverley), who had also built the Plaza Theatre in London. It was one of 50 proposed Paramount Theatres, and was one of the first open, and the first in the UK to bear the company's name; others included Paramount Leeds, Paramount Newcastle upon Tyne, Paramount Glasgow, Paramount Liverpool, Paramount Birmingham and Paramount, Tottenham Court Road, London. A single-screen cinema, it was capable of seating 2,920 people on two levels (the Stalls and the Balcony), and the building also contained a fully equipped stage, a fly tower, dressing rooms, an orchestra pit, an organ and a cafe.
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The Rehab Tax Credit at Work: Knoxville's Historic Tennessee Theatre, National Trust for Historic Preservation website, accessed February 8, 2010 The theater closed for renovations in June 2003 to completely restore it to its original state. Renovations included expansions of the stage depth via a cantilever two stories above State street, which accommodated larger and more elaborate productions, a custom orchestra shell to enhance the acoustics of the new larger stage, an enlarged orchestra pit, upgraded dressing room facilities, modernization of the lighting, rigging, and other theatrical equipment, the installations of elevators, and a new marquee. The restorations included new carpets, draperies, and lighting fixtures that duplicated the original designs, and historically accurate restoration of all plaster and paint surfaces throughout the lobby, lounges, foyers, and the auditorium. Integration of acoustic treatments into the restored auditorium and lobby, and a substantially improved exterior sound isolation system were included in the restoration design.
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Tony's grandson, Kyle DeSantis, took over as President of Drury Lane Theatre in Oak Brook Terrace and Water Tower Place following Tony's death. New York Times, June 9, 2007 - Anthony De Santis, 93, Theater Owner, Dies In 2010, Drury Lane Water Tower Place was taken over by Broadway in Chicago. Significant increases to production budgets has allowed Drury Lane Theatre in Oak Brook Terrace to modernize the look of the stage, enhance scenic design, add more players to the orchestra pit, secure better costuming, and cast with, as Chris Jones of the Chicago Tribune said, “a real eye to excellence,” drawing from both “the very talented, vibrant Chicago theater community” and “a national casting pool.”Cooperman, Jayne: Travel Squire, 2010 - The Music of Something Beginning The Regeneration of Chicago's Drury Lane Theatre In 2013, the facility unveiled phase I of its multimillion-dollar renovation, including the 27,000 square foot Grand Ballroom, the Main Lobby and Cocktail Lounge, and the French and English Rooms.
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The Regent Theatre site on Collins Street was purchased by Hoyts Theatres director Francis W. Thring to be the flagship for his Regent theatre circuit. It was designed by Cedric Ballantyne, who had designed earlier theatres for Thring, and toured movie palaces in the US, drawing inspiration from their eclectic sources such as Spanish Gothic and French Renaissance styles to produce "one of Victoria's largest and most lavish cinemas in the inter-war period." The opening of the Regent Theatre on the 15 March 1929 was a big event, with the Lord Mayor Cr Luxton in attendance, who declared "this theatre is an architectural asset to the city of which we can all be proud (loud applause)". The theatre had 3,250 seats, came equipped with a Wurlitzer organ as well as an orchestra pit and resident orchestra (to accompany the silent films), and opening night program included a number of live acts, and The Two Lovers, starring Roland Coleman and Vilma Banky was the feature presentation.
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A new kind of organ was being developed, one which expanded greatly on the concept of the photoplayer. Originally developed by Robert Hope-Jones and marketed as the "Wurlitzer-Hope-Jones Unit Orchestra" by the Rudolph Wurlitzer Company of North Tonawanda, New York, it was designed specifically to meet the entertainment needs of theatres (most importantly the accompaniment of silent film). This new musical aesthetic, embraced and marketed by nearly every organ manufacturer then in business in the United States and the United Kingdom, resulted in an instrument which soon became generically known as the theatre organ. Barton gradually converted his operation from manufacture of the Bartola to the manufacture and installation of larger theatre pipe organs, just as the other manufacturers were doing, with pipes and other sound- producing components installed in organ chambers placed higher in the building, speaking directly into the auditorium, and with only the large organ console remaining in the orchestra pit.
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Because Robbins, as choreographer, insisted that his chorus reflect the racial diversity of a New York City crowd, On the Town broke the color bar on Broadway for the first time. Robbins' next musical was the jazz age fable Billion Dollar Baby (1945), and during rehearsals for the show an incident happened that became a part of Robbins – and Broadway – lore: the choreographer, preoccupied giving directions to the dancers, backed up onstage until he fell into the orchestra pit. Two years later, he received plaudits for his humorous Mack Sennett ballet in High Button Shoes (1947), and won his first Tony Award for choreography. That same year, Robbins would become one of the first members of New York's newly formed Actors Studio, attending classes held by founding member Robert Lewis three times a week, alongside classmates such as Marlon Brando, Maureen Stapleton, Montgomery Clift, Herbert Berghof, Sidney Lumet, and about 20 others.
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The New York City Landmarks Preservation Commission designated the building a New York City landmark in 1985. Historical records show that the original seating capacity was 1,362; in 2002, it expanded from 1,328 to a potential 1,467 after the May 27, 2002, closing of Elaine Stritch at Liberty. (To use the orchestra pit, 26 seats must be removed.) Robin Williams was to perform five shows of his comedy tour, Weapons Of Self-Destruction at this theatre in early April 2009, but he was forced to cancel the engagement due to his health. In lieu of Williams, the revival of Ragtime, opened November 15, 2009, after a successful run at the Kennedy Center in Washington, D.C. It closed January 10, 2010, due to low ticket sales after only 28 previews and 57 regular performances. The new musical Catch Me if You Can began previews on March 11, 2011, and opened on April 10, 2011.
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In 1994, the first Star Awards were presented at the Caldecott Broadcast Centre, MediaCorp TV Theatre and the following year until 2015; however, seven ceremonies were held outside the studios: in 1996, the venue of Star Awards changed to World Trade Centre, Harbour Pavilion and was hosted by Guo Liang and Yvette Tsui. In 2006, the ceremony was held at St James Power Station, near VivoCity and Sentosa. Between 2010 and 2014, the ceremony was also held outside location while the show was split into two, with the first show held at Caldecott Hill, while the second show was held at Resorts World Sentosa (2010 and 2011), Marina Bay Sands (2012 and 2013) and Suntec City (2014). In 2016, the awards had since held at the new Mediacorp Campus, MES Theatre @ Mediacorp, and it became the presentation's current venue with incredibly spacious interior and stunning architectural designs, the 1,500-seater performance venue features tiered seating in its stalls and two circle levels, including removable seats at the lower stall and additional audience sitting space at the orchestra pit for your special needs.
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Other scenes were filmed at the town hall in Hyde and outside a pillbox attached to a former Royal Ordnance Factory in Steeton, West Yorkshire. However the cinema sequences were shot at the Davenport cinema in Stockport which was chosen due to a period Art Deco interior as well as the presence in the orchestra pit in front of the screen of a Compton 3Manual/6Ranks theatre organ on a rising platform to the left of the stage which was used in the film for scenes involving an audience sing-along to such songs as "Praise the Lord and Pass the Ammunition" and "Deep in the Heart of Texas" and exterior shots of the unnamed Welsh resort were filmed along Happy Valley Road, Llandudno, North Wales. The ending, where the troops board their train to head to the front, were filmed at Keighley railway station on the line belonging to the Keighley and Worth Valley Railway. An authentic Second World War locomotive, which is preserved by the heritage railway, was used for the scene.
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The main theatre hosts 2,538 people on three levels, or 2,416 if the Orchestra pit is in use.Northern Alberta Jubilee Auditorium - History Accessed July 23, 2008 There is also a banquet room, meeting room, rehearsal hall and luxury suite available to rent, along with being able to hold trade shows and meetings in the theatre proper and its lobbies.Northern Alberta Jubilee Auditorium - Facility/Auxiliary Rooms Accessed July 23, 2008 In 2005 as part of the celebrations for the Alberta Centennial, the auditorium underwent extensive renovations totalling a cost of $91 million. British rock band Procol Harum performed on November 18, 1971, along with the Edmonton Symphony Orchestra, the show was recorded and later released as a live album, entitled Procol Harum Live: In Concert with the Edmonton Symphony Orchestra. In January 2010, theatre reviewer Pollstar revealed that the Northern Alberta Jubilee Auditorium was the busiest theatre in Canada, selling 146,555 tickets in 2009, beating its twin, the Southern Alberta Jubilee Auditorium in Calgary (138,515 tickets) and Toronto’s Massey Hall (93,742 tickets).
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In 1992 the municipality of Venice purchased the theatre, and the action which they took—especially that following the destruction of the Teatro La Fenice in January 1996—is recounted on the Commune de Venezia's website: :When the Venice City Council bought the Malibran, it marked a new phase for the theatre: the restoration of the roof was meant to be the starting point of an extremely detailed project by Antonio Foscari to completely restore the building and modify the structures, in particular to extend the gallery and boxes. When the Fenice was destroyed in a fire in January 1996, the Malibran was placed in the limelight because it had become even more indispensable. Thus, the decision was taken to respect the entire original architectural structure rather than radically change the installations and increase the set machinery so that the project would be approved more rapidly and with innovative procedures. During restoration the orchestra pit was also enlarged and an enormous underground basin was made to collect the water from Venice's occasional flooding that could have filled the entire theatre with water.
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The balconies and boxes, which feature seats covered in various shades of red, also boast balustrades that glimmer with gold lighting and dim when the performance begins. The undulating walls of the theatre are painted with a brightly colored mural, designed and carried out by students at the Kansas City Art Institute, under the guidance of Moshe Safdie. With a 5,000-square-foot stage, an orchestra pit that can house up to 90 musicians, and a 74-foot tall fly tower, Muriel's Theatre is the performance home of the Kansas City Ballet and the Lyric Opera of Kansas City, as well as the site of many other theatrical, musical, and dance productions. Another feature of the Muriel Kauffman Theatre is the installation of the Figaro Simultext Seatback System, which displays subtitles in various languages on the backs of chairs, as opposed to most other opera houses that require the audience to look above the stage for opera translations. The Kansas City Symphony prepares to begin a performance in Helzberg Hall Helzberg Hall is a 1,600-seat, oval-shaped concert hall, and it is the performance home to the Kansas City Symphony.
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She played at the Italy on stage festival in New York (1987); at the Wiesbaden festival (1983) and several International Festivals of Ravello; she directed various groups of percussionists and participated in numerous recordings of contemporary and experimental music. Before completing her musical studies, she was already part of the Franco Ferrara Orchestra, the Scarlatti RAI, the jazz-symphonic ItalianItalian jazz synphonic orchestra Symphony Orchestra and the soloists of the Tempo di Percussione Ensemble,Manifesto dell'ensemble (1974) a formation with which she also performed during the concert season at the Teatro di San Carlo. Regarding her teaching material, she illustrated the technique contained in the DVD "Percussion and Drums School" (Curci 1995); she participated in the recording of the CD accompanying the book "Beyond the Rudiments" (Carisch 2004); she wrote essays, compositions and methods. Particular highlights include the work released in two volumes "Music Between Rhythm and Creativity" (Curci 1987): a project in collaboration with Antonio Buonomo, for which the newspaper "Corriere della Sera" devoted a full page review) and "Il Braccio del Tempo" (Simeoli 2015): a handbook that reveals the "secrets" of the orchestra pit, with amusing anecdotes about the conductors.
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Performers in the original theatre included George Formby, Sr., Harry Tate, Dan Leno, Florrie Forde, The Two Bobs, and Wilson, Keppel and Betty. The first production in the present theatre was Better Days, starring Stanley Lupino, Maisie Gay and Ruth French. Subsequent performers have included Frank Sinatra, Judy Garland, Bing Crosby, Mae West, Laurel and Hardy, Roy Rogers and Trigger, Charlton Heston, Sarah Bernhardt, Henry Irving, Vesta Tilley, and Arthur Askey. More recent artists include Johnny Mathis, The Carpenters, Neil Sedaka, The Osmonds, Tommy Steel, Adam Faith, Bruce Forsyth, Victoria Wood, Morecambe and Wise, Ken Dodd, Shirley Bassey, Kylie Minogue, Kate Bush, Elton John, Cilla Black, AC/DC, Aerosmith, Chuck Berry, Black Sabbath, Lynyrd Skynyrd, Queen, Santana, Iron Maiden, Genesis, Steve Hillage, Steve Harley and Cockney Rebel (the band's 1976 concert at the theatre is frequently alluded to by Steve Harley when he plays concerts in the North of England, since, during the extended instrumental in his song 'Death Trip' (track 10 of 1973's 'The Human Menagerie' album), he fell off the stage and into the orchestra pit, but continued performing as though nothing had happened, despite breaking 3 ribs and as a result having to cancel the rest of the tour).
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Conexus Arts Centre viewed from Lakeshore Drive to the westThe building, designed by Izumi, Arnott, and Sugiyama, is an Estevan brick and Manitoba Tyndall stone structure which houses the Main Theatre (seating 2031), Convention Hall (seating 1400, 1000 for banquets), previously known as Doris Knight Hall, Hanbidge Hall and Jubilee Theatre; and various conference rooms and lobby display areas. Main Theatre, with three balconies, has a large stage whose front lowers hydraulically to form an orchestra pit for 100 musicians. The centre is the home of the Regina Symphony Orchestra, which upon its opening immediately transferred its concert site there from Darke Hall at the original Regina College site of the university; it immediately provided a replacement for downtown cinema buildings which were also theatres for stage plays, such as the Regina Theatre (which had burned to the ground in 1939), Regina Grand Theatre (which closed in 1957) and the Capitol Theatre (demolished in 1992). Regina's Globe Theatre performed in the Centre of the Arts from its opening, but in 1981 acquired permanent space on the second and third floors of the old post office (now renamed the Prince Edward Building), the one remaining live theatre facility in downtown Regina.
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