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58-602: The Standard Theatre opened with 2,400 seats on September 23, 1900, featuring burlesque and vaudeville. It was built by Colonel Edward Butler of St. Louis, Missouri , at a cost of $ 250,000, for his son to present shows on the Empire vaudeville circuit. In 1901, a fire at the nearby Coates Opera House caused opera and comic opera performances to be moved to the Standard, featuring such performers as Sarah Bernhardt , Richard Mansfield , and Maude Adams . The theater's name changed to

116-464: A "Strip the Folly" fundraiser was held featuring Sally Rand , who had performed at the Folly. After seven years a full renovation was completed in 1981, including the construction of an annex on the site of the former Edward Hotel. In the Folly's centennial year of 2000, a new lobby, restrooms, and second-floor Shareholders' Room were added. In 2005, the twenty-fifth anniversary of the Folly's reopening,

174-401: A batten above the stage up to the grid, through loft blocks to a headblock and then down to the fly floor, where they are tied off in a group to a belaying pin on the pin rail. The lift lines and hand (operating) lines are one and the same. Typically, a lift line runs from the sand bag (counterweight) assigned to a specific line set, up to "a single loft block" above the fly floor and back down to

232-550: A combination of counterweight rigging and, at least some, hemp rigging. For example, theaters that incorporate built-in, grid-based counterweight fly systems often will also support additional, spot hemp system line sets for spot-rigging (to spot something, in theatre jargon, simply means to (re)position something). Manual rigging is also possible with hand (and drill-operable) hoists (winches), but relatively limited operating speeds preclude their use for most running applications. Automated systems are becoming more prominent. They have

290-400: A dynamite stick in a drainpipe on December 29, 1969. In 1974 the theater's then owners, Annbar Associates and Elk Realty of New York announced that if a new buyer could not be identified by the end of the year, the theater would be demolished to make way for a parking lot. A group of local historic preservation activists, including Joan Dillon and William N. Deramus III , formed a nonprofit,

348-445: A few line sets for the most frequently adjusted loads, such as electrics. Double purchase counterweight systems are sometimes used where the vertical travel of the counterweight arbor would be inadequate due to limited fly space or stage-level wing space. In systems of this type, the operating and lift lines are double-purchased so that the batten will travel twice the distance of the arbor. In other words, for every foot of arbor travel,

406-466: A few sets within a counterweight system, unless space issues preclude the use of a single-purchase system. The use of an arbor pit is an alternative approach to dealing with limited space for arbor travel. Electrical hoists (also referred to as winches) can facilitate coordination with cues , move extremely heavy line-sets, and significantly limit the required population of the fly crew. Despite those potential benefits, most hoists can fly line sets at only

464-405: A fraction of the speed that an experienced flyman can achieve manually. There are two general categories of motorized fly systems, motor-assist and dead-haul. Motor-assist systems very closely resemble standard counterweight fly systems described above, however a drum winch, typically mounted behind the locking rail below the arbor, is used to drive a steel cable purchase line. The purchase line

522-543: A manager's apartment was removed. Current seating capacity is 1,078 seats. Burlesque Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.226 via cp1108 cp1108, Varnish XID 222195117 Upstream caches: cp1108 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 08:52:41 GMT Fly loft A fly system , or theatrical rigging system ,

580-603: A manner similar to manual counterweight rigging. Otherwise it relies solely on the motor power of an electric hoist to fly a line set. Together, a series of parallel line sets regularly spaced up and down stage, commonly at 6 in (150 mm), 8 in (200 mm), or 9 in (230 mm) centers, comprise the bulk of most fly systems. Theatrical rigging systems are made up of hemp, counterweight and/or automated line sets able to serve various functions. Line sets are typically general purpose in function, meaning they can perform any number of functions which vary depending upon

638-437: A manner, motor sizes can be kept relatively small. The use of a particular type of fly system in a theater usually does not preclude the use of other rigging methods in the same theater. A hemp fly system, so named for the manila hemp rope that was once common in theatrical rigging, is the oldest type of fly system, certainly the simplest type of system. Recent research shows that the hemp system, although known for centuries,

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696-564: A more controlled fashion. Counterweight rigging replaces the hemp rope and sandbags of rope line (hemp) rigging with wire rope (steel cable) and metal counterweights, respectively. Those substitutions permit the flying of greater loads with a high degree of control, but with a loss of flexibility inherent to most hemp systems. Flexibility is lost because most components of a hemp system may be repositioned, while counterweight system components are relatively fixed. Old " hemp houses" lacked counterweight rigging, but today most manual rigging houses use

754-630: A premier performance venue by presenting, producing, and hosting a wide range of quality events for the community". The Folly produces a Jazz Series, a Kids Series, and "Cyprus Avenue Live!" performances by artists ranging from blues to rock and country. It hosts the Harriman-Jewell Series of classical performers, the Friends of Chamber Music series, the Heartland Men's Chorus , and KC Burlesque 's Kansas City Burlesque Festival,

812-413: A relatively experienced crew. Peter Foy is known for his innovations in manual flying rigs, especially those used in theatrical productions of Peter Pan. Automated flying rigs, which synchronize multiple point hoists, are becoming more common as motor control systems become safer and more sophisticated. A permanently installed fire curtain line set, though not used for productions, is a typical element of

870-436: A theatrical rigging system installation. Building and fire codes typically require that either a fire/ safety curtain or water deluge system be installed to separate an audience from the stage in the event of a fire. Fly systems are broadly categorized as manual or automated (motorized). Manual fly systems are more specifically categorized as "hemp" (a.k.a. rope line) or "counterweight" systems. " Hemp houses" (a reference to

928-562: Is a system of ropes, pulleys , counterweights and related devices within a theater that enables a stage crew to fly (hoist) quickly, quietly and safely components such as curtains, lights, scenery , stage effects and, sometimes, people. Systems are typically designed to fly components between clear view of the audience and out of view, into the large space, the fly loft, above the stage . Fly systems are often used in conjunction with other theatre systems, such as scenery wagons , stage lifts and stage turntables, to physically manipulate

986-438: Is a basement under the stage, housing mechanical systems and backstage service spaces. The main floor is entered through a lobby and a box office area. The house contains three sections of seats facing a highly decorated proscenium arch. The house is flanked by balcony-level boxes, with the main balcony to the rear. The stage is provided with a fly loft , fly balconies, a scenery workshop, and ten dressing rooms. Interior decoration

1044-403: Is being lowered toward the stage, and "flying out" when it is being raised into the fly space. Battens may be just a few feet in length or may extend from one wing (side) of the stage to the other. A batten is suspended from above by at least two lift lines, but long battens may require six or more lift lines. In manual rigging, a line set's lift lines support weights opposite their connections to

1102-416: Is common terminology between the two industries. For example, the stage is referred to as a deck in the manner of a ship's deck. Other expressions and technology that overlap the nautical and theatrical rigging worlds include: batten, belay, block, bo'sun, cleat, clew, crew, hitch, lanyard, pinrail, purchase, trapeze, and trim. In a typical hemp system, a "line set" consists of multiple hemp lines running from

1160-555: Is fed to fixed electrics from terminal boxes at the grid deck via multicable. Single and double-purchase cable cradles mounted to lift lines can be used to drape the multicable, prolonging its lifespan and reducing the likelihood of conflict with adjacent line sets or lighting instruments. Pantographs are also used to drape the multicable feeding dedicated electric line sets. Dedicated electrics typically employ truss battens (pipe over pipe) to facilitate cable snaking and to maximize lighting positions. In large professional theatres, such as

1218-401: Is mounted to the top of the arbor, before rising back up and terminating below the head block. In addition, the opposite end of a double-purchase operating line terminates at the fly gallery, off-stage wall, or stage deck, instead of the underside of the arbor, after passing through a block mounted at the underside of the arbor. The additional blocks result in the arbor moving at half the rate of

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1276-416: Is predominantly red and gold. The exterior is largely unaltered, but the interior has been substantially renovated. In 1923, the lobby was reduced in size, moving the box office and eliminating a secondary box office for the balcony, while the balcony itself and a gallery level were replaced by a single larger balcony, reducing seating capacity . Plasterwork in the upper levels was replaced at this time, and

1334-746: Is still terminated at the top and bottom of the arbor, but a rope lock is not used on the motor-assist line set. Weight on the arbor helps balance the batten load so that hoist motor size can remain relatively small. It is often feasible to retrofit a standard counterweight line set to become a motor-assist set. Dead-haul systems fly the entire load placed on a line set without the assistance of counterweight. Therefore, dead-haul motor sizes are relatively large. Hoist (winch) motors are either fixed speed or variable speed. Fixed speed motors are used at heavy-load and/or slow-speed line sets (e.g., electrics and orchestra shell line sets). Variable speed motors are used at line sets requiring dynamic motion that may be viewed by

1392-454: Is the fundamental machine of a typical fly system. The function of a typical line set is to fly (raise and lower) a slender beam (typically a steel pipe) known as a batten (or a bar in the UK) by hoisting it with lift lines (typically synthetic rope or steel cable). By hanging scenery, lighting, or other equipment on a batten, they in turn may also be flown. A batten is said to be "flying in" when it

1450-476: The Philadelphia Academy of Music , an electric may take the form of a flying bridge (catwalk) that provides a walkable platform for electrician access to fixtures and effects. Flying bridges may also be used for followspot positions. It is not uncommon for the panels, known as clouds, of an orchestra shell to be flown. Larger, multi-use theaters that cannot have a static shell often make use of

1508-499: The manila hemp once most commonly used to make the ropes) exclusively use the centuries-old tradition of ropes, pulleys and sandbags to fly theatrical scenery in and out. Hemp rigging incorporates many nautical rigging techniques and equipment (e.g., block and tackle ), and was once thought to have stemmed from the nautical rigging. However, recent research has shown that this is not the case, Counterweight rigging evolved separately from hemp rigging and generally handles scenery in

1566-477: The mise en scène . Theatrical rigging is most prevalent in proscenium theatres with stage houses designed specifically to handle the significant dead and live loads associated with fly systems. Building , occupational safety , and fire codes limit the types and quantity of rigging permitted in a theatre based on stage configuration. Theatrical rigging standards are developed and maintained by organizations such as USITT and ESTA (now PLASA). The line set

1624-729: The "Century" in 1902. The Century featured acts from the Empire burlesque circuit, including Al Jolson , Fannie Brice , and Eddie Foy . In addition to theater acts, the Century featured prizefighting and wrestling, with appearances by Jack Johnson and Jack Dempsey . Johnson stayed in the manager's apartment, as hotels refused to rent him a room. The Shubert brothers bought the Century in 1923 and renamed it "Shubert's Missouri" after extensive renovations by Shubert architect Herbert J. Krapp . The Shuberts booked dramatic productions including Shakespeare and O'Neill plays. The Marx Brothers performed I'll Say She Is for three weeks in 1923-24,

1682-547: The Performing Arts Foundation, to raise the money to purchase and restore the theater. The theater was offered for sale for $ 950,000. Performing Arts Foundation raised $ 350,000 in contributions and through negotiation convinced Annbar Associates to offer the remaining $ 600,000 of the purchase price as a donation. Following the Folly's listing on the National Register of Historic Places in 1974,

1740-560: The arbor. When the system is properly balanced, an unassisted operator (flyman) can lift the batten and its arbitrarily heavy load from the stage ("fly it out", in theatrical jargon), completely above the proscenium and out of view of the house, sometimes to heights in excess of 70 feet (21 m). Some large theatres, such as the Metropolitan Opera House (Lincoln Center) , have more than 100 independent, parallel counterweight line sets, while smaller venues may only have

1798-433: The arbors and limit their horizontal play during vertical travel (movement). The top of the arbor is permanently suspended by several wire rope lift lines, made of galvanized steel aircraft cable (GAC). The lift lines run from the top of the arbor up to the top of the fly tower , around the head block, across the stage to evenly spaced loft blocks, then down, terminating at the batten , a load-bearing pipe that spans much of

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1856-605: The audience (e.g., drapery and scenery line sets). Scenery hoists commonly allow travel at rates of hundreds of feet per minute. Digital control systems incorporating computers or programmable logic controllers (PLCs) have become commonplace as well, bringing their advantages of high accuracy, safety and repeatability to fly systems. Battens are linear members to which live loads may be attached for flying. Battens were made of wood originally, but today they are typically steel pipe. Loads mounted to battens include lights, curtains and scenery so they may travel vertically, be raised up into

1914-496: The auditorium's original color scheme was restored. Plans are now under way, and approval has been granted by the Kansas City Landmarks Commission, to install a marquee sign that closely mimics the original Folly signage. The Performing Arts Foundation of Kansas City, d.b.a. The Folly Theater, is a 501 (c)(3) non-profit corporation whose mission is "to preserve Kansas City's oldest historic theater as

1972-405: The batten in order to balance the weight of the batten and whatever it carries. The lift lines are reeved through a series of pulleys, known as blocks, that are mounted above the stage to fly loft structure. An operating line (a.k.a. hand line or purchase line) allows riggers on the fly crew to raise and lower the batten. Automated rigging sometimes uses weights to help balance line set loads in

2030-404: The batten is set when the sand bag reaches the fly floor in its descent (adjustable) and the proper "In/Low" trim for the batten is established when the line set (previously tied off to the pin rail) is fully extended (adjustable). This makes it unnecessary to "spike" or "mark" either the line set or the lift line. The Hemp system relies on being slightly "batten heavy" to allow the load to travel to

2088-426: The batten to rise. The combined weight of the arbor and its counterweights initially matches that of the batten so that when the batten is not being raised or lowered, it will tend to remain motionless at any arbitrary elevation above the stage. As more weight is added to the batten (in the form of curtains, scenery , lighting equipment , and rigging hardware), the system is rebalanced by adding more counterweights to

2146-441: The batten travels two feet. This often results in the arbors remaining well above the stage deck, leaving the otherwise occupied wing space usable for cast and crew. In a conventional counterweight system the operating and lift lines terminate at the top of the arbor after passing over the head block. In a double-purchase system, however, after passing over the head block the operating and lift lines pass through another block, which

2204-430: The chair, and is flown out to the height of the electrics, to focus lighting instruments. Flying rigs are used to fly scenery or performers in a more elaborate fashion than typical line sets. A flying rig typically allows horizontal as well as vertical movement by paying out individual lift lines to varying lengths and/or through the use of tracks. Flying rigs usually involve specialized equipment and techniques operated by

2262-407: The first burlesque performance revival of The Folly Theater. The Neo-Palladian facade uses Carthage limestone and red pressed brick, with an adapted Palladian window centered in the facade. Rather than a fully glazed infill within the limestone Palladian framework, the lower portion of the unit uses three arched windows with an entablature over the center window dividing it from the lunette under

2320-400: The floor/deck. Because the ropes are flexible there is physically no way to move/push the sandbags "Out" if the weight on both sides is equal. Another hand line, known as a jack line, may be used to lift the sandbags if they are heavier than the batten load. (UNSAFE condition) The jack line, which runs up to a loft block and back down to the trim clamp, is tied off to a belaying pin adjacent to

2378-430: The fly floor. A trim clamp or a "Sunday" (a circle of wire rope) is used to attach this sandbag to the "line set" to balance the load placed on the batten. The sandbags are usually filled to weigh slightly less than the load, making the line set "Batten Heavy". When the flyman wishes to fly a batten (scenery or lights) "In" (i.e., to the floor/deck), the flyman unties the "High" trim and allows the batten to travel "In" while

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2436-418: The fly space (flown out) or lowered near to the stage floor (flown in) by its associated line set. Battens typically stretch the width of the stage, parallel with the proscenium wall, and are maintained level (parallel to the stage deck) regardless of elevation. When a batten is flown all the way out (close to the grid) it is at high trim. When it is flown all the way in (usually to about 4 feet (1.2 m) above

2494-415: The fly system in this way. Before being flown the cloud is sometimes pivoted to a vertical orientation to minimize the space it requires for storage in the fly loft. A less common use for the fly system is the use of a focus chair system. This is a system where a small chair with fall protection equipment is suspended from a track that runs the length of a batten to which it is mounted. An electrician sits on

2552-410: The full extent of the arbor's travel (movement), respectively, thereby enabling an operator to pull the operating line up or down to move the arbor. When the arbor is raised via the operating line, the lift lines slacken, which causes the batten to lower under its own weight (and the weight of its load, if any). Conversely, when the arbor is lowered, the lift lines increase in tension, which in turn causes

2610-721: The grid or draped from a fly gallery, or permanently wired with connector strips (specialized electrical raceways ). There are normally at least three electrical line sets provided above the stage, with one just upstage of the proscenium wall, one mid-stage, and one just downstage of the cyclorama . Additional electrics are typically desirable. Permanently wired electrical line sets are known as dedicated electrics, fixed electrics or house electrics. In addition to providing dimmed and switched outlets for lighting fixtures, connector strips may provide low-voltage controls (e.g., via DMX512 and Ethernet taps ), for data being sent to lights and other devices, as well as microphone jacks. Power often

2668-435: The grid. The arbor's vertical position is controlled by means of a rope known as the operating line, hand line, or purchase line. The operating line forms a loop by running from the bottom of the arbor down to and around the tension block, through the rope lock, up and over the head block and back down (alongside the lift lines), where it terminates at the top of the arbor. The head and tension blocks are located above and below

2726-510: The lift and operating lines. In order to compensate for the reduced arbor travel, the loaded arbors must weigh twice as much as the batten load, resulting in arbors that are twice as tall. The additional mass on the arbor increases inertia, and the additional blocks increase friction, resulting in linesets that are more difficult to operate. In addition, double-purchase linesets are more expensive to install and maintain. For those reasons, double-purchase line sets are generally avoided, or limited to

2784-618: The long run convincing the Shuberts to continue operating the theater. After 1928, business began falling off and the theater was used for touring shows on an intermittent basis until it closed in 1932. After a tax sale it eventually reopened in 1941 as "The Folly", featuring striptease . Performers included Gypsy Rose Lee and Tempest Storm , and Chesty Gabor before the Folly closed in January 1974. The theater began showing "adult" movies in 1969, apparently prompting an unknown person to plant

2842-441: The most common fly systems in performing arts facilities today. In a typical counterweight fly system, an arbor (carriage) is employed to balance the weight of the batten and attached loads to be flown above the stage. The arbor, which carries a variable number of metal counterweights, moves up and down vertical tracks alongside an offstage wall. In some lower-capacity fly systems, cable guide wires are used instead of tracks to guide

2900-561: The one used for the line sets lift lines, either at the same, or a secondary, pin rail. Pulling on the hand lines of a hemp set flies a line set out. Pulling on the jack line flies a line set in. Hemp systems can be easily configured for spot rigging , where lift lines must be frequently relocated. They are much less expensive and easier to install than counterweight fly systems, though somewhat more difficult to operate. First introduced in Austria in 1888, counterweight rigging systems are

2958-400: The potential advantages of relatively high precision, speed and ease of control, but tend to be significantly more expensive than manual systems. Hoists of various types (e.g., line shaft, chain motor, etc.) are used. A conventional counterweight system may be automated by the incorporation of a motor and controls, in what is commonly called a motor-assist system. By using counterweight in such

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3016-509: The principal arch. The street level is heavily rusticated limestone with three arched entrances and wrapping a short way around the right (east) side to form an additional arch. The east wall contains small limestone-framed ventilation openings near the top, as well as emergency exits and a 19-foot (5.8 m) high opening for stage scenery. The building is 125 feet (38 m) deep, 70 feet (21 m) wide and 65 feet (20 m) high. The interior structure mixes steel and wood construction. There

3074-583: The requirements of a particular theatre production. For example, a general purpose line set can usually be quickly transformed into a drapery or scenery line set, but converting a general purpose line set into an electrical line set is more involved. When a line set has a predetermined, relatively permanent, function it is known as a dedicated line set. Line set functions include: Line sets often suspend theater drapes and stage curtains such as travelers, teasers (a.k.a. borders), legs, cycs , scrims and tabs, as well as associated tracks, in order to mask and frame

3132-420: The sandbags travel "Out" toward the grid. When the flyman wishes to fly the batten "Out", he pulls down on the operating lines (leaving them tied off at the pin rail at "Low" trim) and the batten flies out as the sand bag descends to the fly floor. This arrangement allows the flyman to control the speed of ascent and/or descent and provides greater safety for people on the stage below. The proper "Out/High" trim for

3190-866: The stage and provide backdrops. Line sets are sometimes dedicated to particular draperies, such as the main (grand) curtain and main border (valance) that mask the proscenium opening, but drapery locations can often vary. In many stage productions, theatrical scenery is mounted to line sets in order to be flown in and out so as to quickly change set pieces during the course of a performance. For example, painted soft and hard flats (e.g., muslin drops) and are commonly used to depict settings. Also, three-dimensional sets (e.g., box sets ) may be flown. Electrical line sets, commonly called electrics, are used to suspend and control lighting instruments and, in many cases, microphones and special effects equipment as well. Electrics may be temporarily "wired" with drop boxes (electrical boxes with outlets) or multicable fanouts dropped from

3248-493: The stage deck) it is at low trim. Loads are attached to the batten in various ways. Most lighting fixtures, for example, utilize a C-clamp to rigidly secure the light onto the batten, in conjunction with a safety cable that is looped around the batten to prevent the light from falling should the C-clamp connection fail. Non-traveling curtains (e.g., borders) often employ cloth ties, similar to shoestrings, that are hand tied onto

3306-440: The width of the stage. If the loft blocks are mounted to the grid deck, at the loft block wells, the system is called a grid-mount, or upright counterweight rigging system. If the loft blocks are mounted to roof beams (loft block beams), the system is called an under-hung counterweight rigging system. Under-hung systems have the advantages of maintaining a clear grid deck surface for spot rigging and facilitating crew movement across

3364-599: Was not much used. The hemp system gained popularity first in the United States in the mid nineteenth century. It soon gained popularity in England, as it was inexpensive and provided a great deal of flexibility for moving scenery. Hemp systems are also known as rope line systems, or simply as rope systems. Stage rigging techniques draw largely from ship rigging, as the earliest stagehands were actually sailors seeking employment while on shore leave. Because of this, there

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