Phase Three saw the installation of 17 winches to move the Cyclorama and sweep battens onto the automated system, plus a full cleanup of the grid that allowed more comprehensive coverage of the stage by the existing point hoists. TAIT Stage Technologies installed seven BT290 winches to control the curtain as well as 14 demountable point hoists, drives and control, and point hoists.
Phase Two focused on the house curtain and existing lighting bridges. This was a feasibility study to consider and plan the full automation of the House. Phase one consisted of a structural engineering review of existing system and building infrastructure. The control infrastructure was designed at the outset to allow for the easy integration of subsequent phases of work. No performances were affected by the work being carried out during installation and system commissioning.
The careful planning of physical, electrical and signal infrastructure throughout the building became an armature that can support technological developments for many years to come.TAIT answered this challenge by sequencing the whole install over four phases and several years, fitting it in between the Opera and Ballet’s seasons. These vital distribution systems became a backbone for production monitoring, performer paging, communications and special sound effects. This significant development process was done in complete collaboration with the technical and creative staff of both the Opera and the Ballet.Īnother critical part of the new infrastructure was the distribution of audio and visual signals throughout the Opera House. These included the entire theatrical lighting system, automation controlled motorized flying systems, rigging and lighting bridges, new draperies and replication of the historic house curtain and all backstage communications and sound systems. The renovation enabled an opportunity to develop entirely new cutting-edge theatrical systems that prototyped what would become industry standards. Providing audio-video design and theatre consulting services for the renovation and restoration and working closely with the San Francisco Opera and Ballet, the firm designed and developed the replacement of obsolete and earthquake-damaged theatrical systems and infrastructure. Retained in 1996 by the Committee to Restore the Opera House to oversee the complete technical renovation of the Opera House, Auerbach Pollock Friedlander’s charge was twofold bring the building’s outdated theatrical systems into the twenty-first century while preserving and enhancing the existing architectural values of the 1932 Beaux Arts structure.
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