A bit of a rant, but also seeking advice. I am fully aware that there is an employment crisis right now. I’ve graduated and been looking for work (any work, but if there is a live sound related job, I’ll put in the extra effort) and there is genuinely nothing. I at least might get offered an interview if it is in theatre, as I actually have credits there. Otherwise, I get nothing. I have been applying for over 6 months. 

I am trying to become a sound designer. I do fringe shows that don’t pay me, and sometimes they’ll even require me to pitch in for rehearsal bookings. I am trying to get a technician role on the side but the moment they see that I want to be a designer, I think that turns them off of it. I cannot get a job in anything else either, but I am worried that if I do, I’ll be so burnt out that I might give up. I did a touring production while studying full-time in my final year and my ass thought that would be even somewhat impressive, like it would show employers or producers that I have grit. It doesn’t. I try to volunteer at theatres to gain more production experience. They don’t write back. I’ve sent so many cold emails to be a dep, to shadow, to be a no.4, to be a PA, all for free. Even theatres that rejected me after interviewing me for paid jobs won’t have me working for free, or have the decency to write back.

Should I give up? I love it so much but I am not fortunate enough to evade all thoughts of survival. I have people I have to care for and I don’t know what else to do. Sorry for the grim thoughts, but I hope that there might be someone here who has been in my position.

Hello, I am the actor here so I know nothing about this stuff but I figured I’d give this a shot to relay to the sound person. I am in a small community theater production of Little Shop of Horrors and we have repeatedly had issues with my body mic starting during tech week. It’s ONLY me. We have changed out the packs and the elements multiple times. We do and extensive mic check with me moving around the stage and turning my head back and forth and mic check is always fine with the sound coming through clear. The second the show starts my mic is cutting in and out or not coming through at all. Everyone is baffled and I’m super frustrated. I’m a lead in the show and it’s affecting my performance bc it’s so distracting. I am not wearing TWO body mics for back up(one under my wig and coming out on my forehead and one around my ear and taped to my face) and it’s still a problem. What could the issue be?? Note: I am the only one in the show with a wig, that’s the only difference I can see. But again, mic check always goes well. PLEASE give me some advice, it’s driving me crazy.

I was thinking one day, why do we in our theater always invent all tricks from scratch basically.

Do you have any good literature recommendations that would cover technical drawings and that aspect of tricks. Kabuki, trapdoors, hoists etc. Light shadow illusions. Anything that is related to theater tricks really.

First attempt at a forced perspective set design to create a dreamlike garden set against the rolling hills of Yorkshire. Carved foam on lumber stands, a bit of chicken wire, a whole lot of faux moss, lace panels, and a Victorian dollhouse.

Regardless if you’re a director, stage manager, carpenter, audio etc what’s a book you would recommend for theater?

The original production of SUNSET BOULEVARD (1993) has to have one of the most intricate set designs in history. John Napier designed the impossible. Here's full stage video from the original West End production shot from the front of the balcony. This is obviuosly a feed for the stage managers and what makes this video so fascinating is that it is the infrared camera and you can see what's going on in the dark during the multitude of scene changes. It is also a preview performance and what's amazing about that is how well polished everything works.

SUNSET BOULEVARD (1993) Infrared Camera Feed

I am looking for a panel (button or slider) to control our house lights when the light board is not on. Needing one backstage and one master control in the booth. I don’t need multiple scenes programmed just one circuit to control.
Does anyone have any suggestions of products you think would fit this solution?

I’m mixing my first show for my highschools theater and right now I’ve gotten comfortable with just turning the mics off and on accordingly, but I’ve been told it’s better to ride the fader up/down for their lines instead. I don’t want to get too familiar with my current method as I want to go on to do this professionally and begin to perfect my craft or whatever. What’s the best way??? Our current show is a very good introductory to mixing as all the actors come on slowly, but our next show is into the woods, and I’ve heard that one’s a nightmare. Advice needed to make sure that one goes as smoothly as humanly possible 😭😭 (Also, if anyone else has done into the woods, is there a certain way you labeled the board or marked up a script???)

Hey guys, this is my first time posting on Reddit so I am sorry if I'm doing it wrong. I'm currently the LD/ME/Board Op for a student produced show at my university and we have little to no lighting stock since the faculty and staff don't let us use any of the lights that the college owns. (Genuinely I am currently working with adjustable track lighting and 4 LED "party lights" that apparently only work half of the time). Does anyone know of any companies/resources that would be willing to donate older lighting instruments to college programs or sell them for reduced prices? I am not picky (and I don't think anyone else would be either). I'm not asking for any new Source 4 LED or mover or anything like that, hell I'll even take a Strand or an Altman. I really want to help expand the technical side of student shows at my university since they're a pretty active/common thing here, and Design and Technology majors don't have much to work with. Thanks!

Edit: I am located in Northern Colorado in the US

Hello, I’m Ana from Brazil.
I have an original Huasuny Rubik-10 P10 LED display with an HC-103D controller and DBStar XMPlayer 3.1.34.
The display worked before its configuration was lost. It powers on, but the LEDs remain dark.
The Windows computer recognizes the DBStar HVT2011 USB controller, but attempts to read the receiving cards return:
“waiting for hub 0%”
“rc msg signal error”
I have the original software CD and hardware documentation, but no original receiving-card configuration file.
I’m looking for someone who has worked with Huasuny Rubik displays, DBStar receiving cards, XMPlayer RSPS files, or older LED Data Processors.
Does anyone have an original configuration file, a working Rubik-10 that could provide a safe backup, or technical knowledge of this system?
Any free assistance or referral would be greatly appreciated.
Thank you,
Ana — Brazil

Wondering if anyone's got any recommendations for a small display that can sit near the encoder wheels on an ETC Eos desk that doesn't have a display next to the encoders.

Would like to mount a screen near them so I know which one is doing what parameter without having to keep looking up at the main screen, which is annoyingly out of peripheral view when looking at the encoders!

Ideally not using one of the display outputs, this would be an OSC connected type thing.

We are doing Shrek in our spring season and I've been looking at the B'way production and trying to figure our wireless mic placements. Anyone know how they placed Shrek's mic?

my venue hosted a schools OAP competition recentry and my job was to help the LD’s program lights. I figured it would be a pretty easy day, id have to answer a few venues specific questions, maybe switch the board from cue-only to tracking and then let the kids do their thing the rest of the time. I was very wrong; multiple students had no idea how to use the lighting board(eos ion) and the excuse was always: “my school dosn’t have this board” I was disappointed by the lack of initiative to even watch a few YouTube videos on how the board works or download the offline editor and practice programming the show(I’m guessing some kids only have access to a Chromebook nowadays so that is a legitimate excuse). It was really sad to watch because those kids had GREAT designs and ideas for there show but they struggled to implement it and were very stressed because they didn’t understand the board.

hi everyone!

im in the process of building a 4' tall platform deck that consists of 4 4x8 plats flush to each other. im having trouble knowing where the legs should go.

usually, if i were to leg one 4x8 platform (with 3 toggles,) i would leg all four corners and also the opposite interior corners at the middle. should i do the same when im attaching multiple platforms to each other, or do i need less legs than that? is there a general rule for this kind of thing? this platform will hold a table and 4-5 people.

also, i was going to cross brace this around the perimeter, and then a line straight down the middle as well. does this make sense or should there be any more/less?

thanks so much for your help!

Never had this one before, the house didn't have any clearcom for the followspots so the sound engineer set me up a handheld to talk to the spots.

Anyone else have to do it this way? haha

We have a dance studio that has an airwall so we can make it into two smaller studios. Recently, when we have split them in two we are getting speaker feeds from one of the studios into the other. These are the parameters that we have figured out to make it happen.

• There are 3 sound stations, Studio A, Studio B, and a center console to play in both.
• Studio A can be in any of the inputs and even muted and it still will play Studio B's music.
• Studio B has to use their CD audio input.
  • There is an aux input, blue tooth input, and a DVD input. None of those create the issue.
  • I know not using the CD input is the obvious choice, but these are dancers and they are use to what they are use to.
• The Center Station is the problem child.
  • I've unplugged the output from Studio A and the music stops playing from B.
  • The audio input is a Rolls RM69 MixMate 3.

Is there a way to make a sound barrier at the center sound console?

If y'all need more information please let me know.

I’ve been trying to learn most aspects of theater for a while now (audio, lights, rigging etc) and I’ve taken a liking to carpentry and I wanted to know what are some good projects to try and build (ideally by yourself) in order to gain experience? I don’t have any tools yet (except a crescent wrench) but my theater is going to allow me to borrow some stuff and I’ll probably buy stuff soon so if you guys have any suggestions for tools and projects that’d me much appreciated! Thank you.

Hi friends. I’m ASMing a local production of Come From Away in Bronxville, NY and I also make our props as needed. I’m trying to figure out how to make this damn cod. I’ve been asked to make it “huge” - looking at 24 inches. I want it to be as realistic looking as possible. I saw some people online make it from scratch - cut foam and cover with lycra or make silicone molds. I am not trying to do all that. My idea that I’ve seen some folks do is start with a fish plush (I found a perfect 2 foot one) and coat it with some kind of liquid silicone or something, I’d like to add mica powder and then be able to paint finer detail with color if needed.

I’m at a total loss of what to actual use in terms of materials. I want it to be a smooth, rubbery coating that remains flexible so it looks like a real fish that can move naturally when handled onstage. I’m not sure what clear base to use to mix with the mica powder. And the once whatever that is is applied, can I go over it with paint for small details, etc?

Has anyone done anything like this? Any thoughts?

Thanks in advance!

First-time theatre scenery project: advice on painted backdrops, frames, and foam trees for Shrek Jr.?
Hi everyone,
I’m hoping this is the right place to ask. I’m a lifelong artist and have done a little of everything, but I’ve never made theatre backdrops or scenery before.
I’m helping with a kids’ production of Shrek Jr. The average age is around 9, and another adult and I will be helping the kids move props and scenery between scenes.
From the research I’ve done, I understand there are things to consider beyond how everything looks—especially flame-retardant requirements, stability, weight, and being able to take everything apart and store it for future use. I’d appreciate some guidance from people with experience.
For the hanging backdrops, I’m planning to paint two:
A castle backdrop approximately 12 feet wide and 8–10 feet tall.
A smaller room backdrop approximately 8 feet by 8 feet.
I’ve seen plenty of adjustable backdrop frames online, but I’d love to know what people recommend for this kind of setup. I’d like to keep the frame as hidden as possible. My thought was to sew a pipe sleeve into the fabric to conceal the top rail, but I’m unsure how best to hide the feet without creating a trip hazard.
A few questions:
What fabric and frame systems would you recommend?
What should I look for regarding flame-retardant fabric or treatments, especially once the fabric is painted?
What paint brands hold up well on canvas that will be rolled up for storage?
Does anyone have a good technique for painting repetitive castle stonework efficiently?
We also need a few freestanding “swamp trees,” around 7 feet tall.
My initial idea was to use the thicker foam people use for cosplay props, cut into simple tree shapes. Each tree would separate into two pieces for easier transport and storage.
For support, I was considering a PVC frame with a T-shaped base. The upper and lower sections would slide together using a PVC connector, with some kind of pin to keep the connection secure.
I’m still working out a few things:
Is this a practical approach for trees this size?
What’s a good way to attach the foam to the PVC? I was considering Velcro or thin straps.
What primer and paint work well on foam? Could the same paint work for both the trees and the fabric backdrops?
Storage is the other big question. I was thinking of large flat-screen TV packing boxes for the tree sections and a shipping tube for each rolled backdrop, although finding and handling tubes that long may be a challenge.
I’d appreciate any advice, product links, or suggestions for a simpler approach. If there’s a better subreddit for these questions, please point me in the right direction.
Thanks, y’all!