New Blackbox: What would you want?

[Tex]

Thanks to the voters in our district, we have bond money for a new blackbox! I'm going to meet with the architects in the next couple of weeks and my fine arts director asked me to have a list of things I'd like to see included. No guarantees, but if you don't ask; you don't get.
I've toured a couple of BB's that this firm has built and I have a short list of things that I don't want, but I would be interested in getting opinions from the group.
The budget isn't huge ($1.3 mil.) so keep it real, but if you were getting a new blackbox, what would you want?

 

[museav]

What are your goals and how do you see using the space? I've had projects where such a space was the only performance space and other projects where it was one of several performance spaces and ancillary to a larger performance space. This can affect aspects such as the use (for example, will it need to function as a rehearsal space for a larger venue, have to be able to quickly convert from such a rehearsal use to a performance, etc.), support spaces (dressing rooms, scene shop, equipment and storage space, etc.) and equipment (e.g. can any instruments, mics, comms, etc. equipment, especially existing equipment, be shared or does this facility have to operate standalone?). The answers to such questions would likely affect some of the suggestions offered.

Is the $1.3 million the total construction budget? If so then site conditions, utilities, vehicle and pedestrian access, connectivity to other buildings, etc. can significantly affect the building budget and subsequently, what is left for tech systems. Quite frankly, I would guess that if that is the overall budget then you may need to focus on infrastructure and future planning or else you could really lock yourself into having limited potential for growth or improvements.

One recommendation is to prioritize your list. If you do not make it clear which items you see as 'required' versus 'desired' versus 'wish list', then when it comes time to make your list and the budget reconcile someone else with probably a lesser understaning of the implications and more of a focus on the costs may make such decisions for you.

 

[rochem]

Gafftaper made a bunch of posts a while back when he was getting a new black box, and some really lengthy and informative threads developed. I believe that was actually the reason he joined CB in the first place. Granted, his budget allowed for a lot more than yours looks like it will, but do a search and see what you come up with.

 

[Tex]

Good advice from both of you. Thanks.
The 1.3 is the total budget, but the box will be attached to the current proscenium theatre by the shop. The shop will be expanded. The space is perfect with plenty of room for expansion. It's currently paved and not being used for anything except my loading dock and a back door.
The theatre will be used for at least one show per year plus student directed one acts. Our main request is that the total space be as large as the main proscenium stage. We need a place to rehearse when the main stage is being used by other groups. If I can tape out a main stage set in the black box, we always have a place to go with a minimum of disruption.
The lighting/rigging bid will probably go to the company that gets most of the high school projects in the state. They're an ETC dealer, so I'm OK with that. It's anybody's guess who will get the sound bid. If it goes the way I've seen it go in the past, the part that will get shaved down at the end will be the instrument package. They'll cut down the number of Source 4's to one per area and put in 50 degree lens barrels...
Whatever happens, I'm looking forward to the experience.

 

[gafftaper]

Wow 1.3 mil? My blackbox is 60x60 plus, dressing rooms, green room, and shop. Price was nearly 5 mil three years ago. We cut everything that wasn't nailed down and got it down to 4 mil. Then had money thrown back in later for equipment. 1.3 mil seems really low for anything of performance quality or a decent size. My portable riser system and seats cost over $300,000, so I'm guessing you'll probably end up with something more like stadium bleachers for seats. I can't stress enough how important it is to specify everything based on actual functional differences between equipment. Don't leave it up to chance. You'll get stuck with some really bad gear if you don't watch the details like a hawk.

A few random notes:
-I have a catwalk, it makes work much easier and safer, but you won't get that for 1.3 mil.
-I have a little sand bag fly system which raises and lowers 10' battens between catwalks. It's poorly designed but very nice to have.
-Get lots of power and control options installed all over the place. I have boxes located all over the theater (floor, walls, and catwalks) which include: internal network, video, mic in, speaker out, and clear com (the ones in the floor add dimmed and non-dimmed power).
-The network has been very useful. There is a network patch bay in the booth. We send audio, video camera, and even power point presentations through the network system. We can run internet access to a computer on stage and output it's video into our projection system (all through the network). It's going to be even more useful in the future as ACN control comes online.
-Try to get both DMX and a separate ethernet network installed so you are prepared for the present and the future of lighting control. If you decide to go just ethernet for lighting control get lots of extra DMX nodes.
-The underside of my catwalks has UniStrut hanging from it. This is INCREDIBLY useful. I have a video projector mounted with Uni-Strut, I can hang a curtain ANYWHERE, and for my next show I will be stabilizing the 12' high box set walls by bolting unistrut from the top of the flats up to the grid, instead of relying totally on floor jacks.

My biggest regrets:
-The roll up door into the scene shop goes to 10' but my grid is 17'. I can't roll my scaffold in and out of the shop.
-Wish I would have insisted on a Genie Runabout. But I'm glad I have my scaffold. (Get one!)
-We have HVAC noise issues. The HVAC fan in the shop is so loud you can hear it through the roll up door in the theater.
-A better design of how to QUIETLY get actors in and out of the space
-Better connections from the theater to the backstage. Our monitor system is lame. We don't have a way to send video to the green room/dressing rooms. Limited backstage clearcom connections.

Let me know if you have any other questions.

 

[museav]

The budget will almost certainly be very tight. One of the difficulties in addressing tech systems in such projects are that they are legally 'desires' rather than requirements. There are going to be many code, ordinance and procedural requirements that have to be accommodated without any real option. Of those, there are some factors such as whether existing parking, HVAC, restrooms, etc. facilities or systems can be taken advantage of that could definitely impact the construction cost. While many aspects of the existing theater space could probably help there, that may not be true if simultaneous use might occur, for example parking and restrooms will likely need to be based on the combined capacity if there is any chance that both facilities may be in use at the same time.

There are also many often initially overlooked 'soft' costs such as design fees, contractor's overhead and profit, permits, inspections, performance bonds and so on that may be involved and these can eat significantly into any budget. And I have seen multiple theatre projects where initial assumptions regarding site conditions, utilities, etc. proved to be erroneous and resulted in significant increases for the basic site preparation costs, which with a fixed budget is usually covered by taking the funds from other more discretionary aspects of the project (e.g. rigging, sound and lighting systems).

The point is to focus on some of the issues like those gaff noted. Things such as physical space, load capacity, electrical and HVAC systems provisions, door sizes and locations and tech systems' infrastructure are much more difficult to address later. When budget is tight I have found that getting the basics right and establishing a good foundation for future work (sometimes quite literally, as in designing the foundation and structure to accommodate a fly tower but not initially building the tower) is much more effective in the long run.

 

[Tex]

Thanks guys. Those are all great points to consider. I've started my list.
Just a note: The box will share dressing rooms and could possibly share a dimmer rack since it's so close to the existing theatre. Since it will be part of the school building, it will take advantage of existing infrastructure like parking, restrooms, and HVAC. That should save a chunk of money. Since this firm just finished a design for the new high school, there has been talk of modifying those plans for use at our school. This may also provide some savings.
I'll be back for more after I talk to the architect. Once I see what they have planned, I'll know which direction to guide them. They may not listen, but I'll push anyway!
I never thought I'd look at 1.3 million as "not enough money"...

 

[mrb]

that 1.3 million is going to disappear fast. Soft costs (architect, engineering, plans, permits, bonds, EIR if required, ADA compliance, energy codes depending on where you are, etc) will be 20% or more of the total budget so thats $260,000 gone before you get out of the ground. Unless this thing is very, very small -I dont see one getting much more than a shell for $1.3 million.

 

[Tex]

I don't know how I screwed this up, but the figure is not 1.3. It's actually 2.7 million. I'm not sure how 1.3 got stuck in my head, but 2.7 looks much better!

 

[museav]

I don't know how I screwed this up, but the figure is not 1.3. It's actually 2.7 million. I'm not sure how 1.3 got stuck in my head, but 2.7 looks much better!

Yes, it does! One thing you may want to check is if that budget is for the building only or the building and FF&E (Furniture, Fixtures and Equipment), I have been involved in some projects where the actual tech systems themselves were purchased with separate funding. You also may want to start thinking about how this could affect your operations budget and whether that possibly needs to change or how what you do might affect that budget.

 

[gafftaper]

By the way you really need to bring a theater consultant on board. Architects are wonderful for big buildings but they need the guidance of someone who knows theater AND architecture. It'll cost you a chunk of change, but it's the difference between getting a great building and one that needs remodeling before you take occupancy.

If you don't have a consultant, drop museav a P.M. If he can't do the job himself, I'm sure he can help you find someone in your area to do it.

 

[Tex]

musaev: The bond money is supposed to cover construction and FF&E. Our operating budget is from a completely different source. One will not affect the other, thankfully.
gafftaper: I have suggested a theatre consultant, but that's about all I can do. Those decisions are above my pay grade! Fortunately, a consultant was used when the new school was constructed last year and I'm almost certain that those plans will be modified to work on our site. The mods should only affect the shop portion where it connects to the school building. It's not as good as having a consultant on this job too, but at least there was some input on the plans.
Thanks guys!

 

[AdamBair]

If you have to cut, cut things that can be easily added later. Get as much hard wiring in place as you can. Socaplex and dimmers can be added later, upgrading your electrical service is much harder. Paths to run cables from booth to backstage are easier if built in. Accessible structural rigging points are always nice, and don't let the AVAC guys take over your over grid space.

Get quality that can be expanded upon wherever possible. A small cheap lightboard or sound board might be fine for now, but will be hrder to justify upgrading in 5 years, then it would be to justify buying more dimmers and mics.