Ethos, Logos, and Pathos

Ethos Pathos Logos Chart

Aristotle coined the terms ethos, logos, and pathos as modes of persuasion. These are used in theatre, in literature, and tons of other places. When actors are learning acting styles and methods, they learn about the three modes of persuasion to better their skills and create a more authentic production. Read on to learn more about the three modes of persuasion.

Ethos is the ethical appeal, and it means to convince an audience of the author’s credibility or character. An actor would use ethos to prove to his audience that he’s credible and worth listening to. An actor appealing to ethos would use the same language as their character, and try to dress exactly like them.

Actor in Wig with Glasses and bandana

Logos is the appeal to logic, meaning to convince the audience by using logic or reason. An actor may cite facts or statistics. An actor may appeal to logos by presenting logical or well rounded points, may cite important information, or may refer to historical analogies for explanations and proof.

Pathos is the emotional appeal, meaning to convince an audience through appealing on emotional levels. Actors may evoke sympathy to try make the audience feel how the author intended for them to feel. They aim to get a certain emotion out of their actions when appealing to pathos. Pathos can be expressed by actors through language, emotional tones, or emotional events or implications.

These forms of persuasion immensely help actors get into character. Persuasion helps the audience to believe and understand the plot and action of the production. Strong productions rely on the effective use of these persuasion techniques. By studying each one, actors can learn how to better their styles and increase their overall credibility while on stage.

Backdrops by Charles H. Stewart can help you with your backdrop needs. Visit our website to learn about our offerings, accessories, and handmade backdrops. Don’t hesitate to reach out to our staff with any questions.

Thrill of Victory, Agony of Defeat

Sports.  It has drama, competition, and emotion.  A perfect recipe for a Broadway show.  Sports has been the backdrop for many movies, tv shows, and musicals.  We will take a look at a few classics and maybe a few not so classics.  But nonetheless, the marriage of sports and Broadway has gone on for a very long time, and it’s easy to see why.

 

Damn Yankees (Baseball)

Perhaps the most classic sports musical ever made, Damn Yankees is a musical comedy with a book by George Abbott and Douglass Wallop, music and lyrics by Richard Adler and Jerry Ross. The story is a modern retelling of the Faust legend set during the 1950s in Washington, D.C., during a time when the New York Yankees dominated Major League Baseball. It is based on Wallop’s novel The Year the Yankees Lost the Pennant.

The show ran for 1,019 performances in its original 1955 Broadway production. Adler and Ross’s success with it and The Pajama Game seemed to point to a bright future for them, but Ross suddenly died of chronic bronchiectasis at age 29 several months after it opened.

Joe Boyd, an aging Washington Senators fan, would sell his soul for the Senators to beat the New York Yankees and win the pennant. Enter Applegate, who offers to turn Boyd into Joe Hardy, a powerful young baseball player, in exchange for his soul. When Boyd agrees, he becomes Hardy and leads the Senators on a winning streak. When he starts to miss his wife, though, and questions the deal, Applegate sends temptress Lola into the mix.

Hey!  As a Red Sox fan, I might have considered this after the 2003 season!

 

Good News (Football)

Another classic Broadway musical, Good News is a musical with a book by Laurence Schwab and B.G. DeSylva, lyrics by DeSylva and Lew Brown, and music by Ray Henderson.  The show opened on Broadway in 1927, the same year as Show Boat, but though its plot was decidedly old-fashioned in comparison to Show Boat’s daring storyline, it was also a hit. Good News spawned two films, an unsuccessful 1974 Broadway revival, and a 1993 updated production by Music Theatre of Wichita, which created a largely new libretto and made changes to the score, It proved to be DeSylva, Brown, and Henderson’s biggest hit out of a string of topical musicals.

World War I is over, the Roaring Twenties have arrived, women have won the right to vote, and college campuses, such as fictional Tait College, are as much a social scene as an academic one. Football is the big game, and star player Tom Marlowe is a prime catch. All the girls are interested in Tom, and vice-versa, although one society climber seems to have him in hand. Studious part-time school librarian Connie Lane doesn’t seem to have a chance and stays out of the fray. When Marlowe fails a final exam, he needs a tutor to help him pass so he can play in the big game on Saturday. Connie is selected to help keep his nose to the grindstone, and the two fall for each other. The couples’ romance can only endure if the team wins the big game.

 

Golden Boy (Boxing)

Golden Boy is a 1964 musical with a book by Clifford Odets and William Gibson, lyrics by Lee Adams, and music by Charles Strouse.  The Broadway production was directed by Arthur Penn, choreographed by Donald McKayle, and starred Sammy Davis Jr and opened on October 20, 1964 at the Majestic Theatre, where it ran for 568 performances and twenty-five previews.

Based on the 1937 play of the same name by Odets, it focuses on Joe Wellington, a young man from Harlem who, despite his family’s objections, turns to prizefighting as a means of escaping his ghetto roots and finding fame and fortune. He crosses paths with Mephistopheles-like promoter Eddie Satin and eventually betrays his manager Tom Moody when he becomes romantically involved with Moody’s girlfriend Lorna Moon.  In Odets’ original book, Joe was a sensitive would-be surgeon fighting in order to pay his way through college, but careful to protect his hands from serious damage so he could achieve his goal of saving the lives of blacks ignored by white doctors.  In an ironic twist, the hands he hoped would heal kill a man in the ring.

 

Magic/Bird (Basketball)

Magic/Bird is a play by Eric Simonson about basketball stars Magic Johnson of the Los Angeles Lakers and Larry Bird of the Boston Celtics, their rise from college basketball to the NBA and super stardom, and eventually the Olympic Dream Team, their team and personal rivalries and ultimately their long-running friendship. The play premiered on Broadway at the Longacre Theater on March 21, 2012.  It has the full support of the NBA with Johnson and Bird prominently supportive.  And, according to the producers: “At the heart of one of the fiercest rivalries in sports, two of the greatest athletes of all-time battled for multiple championships and the future of their sport…Johnson and Bird, went head to head, electrified the nation, reinvigorated the NBA, and turned their rivalry into the greatest and most famous friendships in professional sports. With classic NBA footage prominently designed throughout, Magic/Bird transports the audience into the heart of their matchup.

Proper Warm-Up Routines

Actors on stage in a scene

 Every performer has their own personal routine when warming up before rehearsal or for a show. Some directors like when the performers warm up together, and think it can be helpful for creating a cast bond. Though warm ups may differ depending on whether you have rehearsal or a production that day. Check out these ideas for warm ups.

Stretching your Muscles

When warming up for rehearsal you should still be putting your all into warm ups. It’s the time when you feel out your body and get comfortable with your character, so putting your all into warm ups is very important. It exercises your body and stretches you out just like muscles before working out. You wouldn’t think, but there’s actually a muscle that actors workout called your diaphragm that you stretch like any other muscle to perform your best.

Microphone held by hand with dark background

Individual or Group?

Try individual warm ups and group warm ups. Anything goes for rehearsals as long as they’re really working you out. Stick with your individual routine, and allow yourself to warm up as you will to get to know your character the best you can.

Routines

When it comes closer to the opening night of the production, work through some group warm up activities that you’ve practiced. Make a routine of doing group warm ups as opening night slowly approaches. These group activities help boost morale, and increase chemistry and bonds between cast members.

Actor looking off into distance

Experience Helps Warm-Ups

As you gain experience with different types of productions, warming up becomes easier. It will make more sense as to which warm up routine should be done with which type of productions/characters.

Next time you’re planning your set, consider Backdrops by Charles H. Stewart. Call us at (978) 682-5757 or visit our website at https://charleshstewart.com/

 

I Saw the Strangest Thing On Broadway

Has anyone seen a truly strange play or musical?  What’s the strangest one you’ve heard of?  Here, we will look at a few of the strangest plays or musicals out there.  Some you may have heard of, and some, maybe not.

 

The Rocky Horror Picture Show – Wallpaper #1

Rocky Horror Picture Show

We all have heard of it.  We all don’t really understand it.  We all know it has a cult following with people dressing up like the characters.  But what is it about?  The story centers on a young engaged couple whose car breaks down in the rain near a castle where they seek a telephone to call for help. The castle or country home is occupied by strangers in elaborate costumes celebrating an annual convention. They discover the head of the house is Dr. Frank N. Furter, an apparent mad scientist who actually is an alien transvestite who creates a living muscle man, Rocky, in his laboratory. The couple are seduced separately by the mad scientist and eventually released by the servants who take control.  The musical was adapted into a film in 1975 and still enjoys success to this day…but I don’t get it.

 

Urintown: The Musical

Urinetown: The Musical is a satirical, comedy musical that premiered in 2001, with music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and book by Kotis. It satirizes the legal system, capitalism, social irresponsibility, populism, bureaucracy, corporate mismanagement, and municipal politics. The show also parodies musicals such as The Threepenny Opera, The Cradle Will Rock and Les Misérables, and the Broadway musical itself as a form.  Does sound strange, right?  Well, not until you realize that it all revolves around—you guessed it—going to the bathroom.  Due to a twenty year drought and a severe water shortage, all restroom activities are regulated.  No more private toilets only public ones.  You have to pay to go to the bathroom.  There are strict laws that if broken gets you sent to a “penal colony” called Urinetown…..

 

Octomom: The Musical

Do I really need to write anything about this?…

I will mention one thing, when the show opened, the producers left nine seats open just in case.

 

Triassic Parq

The novel and film Jurassic Park told from the perspective of the dinosaurs. A clan of genetically engineered female dinosaurs (played by male and female actors) is thrown into chaos when one of the female dinosaurs spontaneously turns male. Originally directed by Marshall Pailet and presented Off-Broadway at the Soho Playhouse in 2012. The original cast featured Alex Wyse (Velociraptor of Innocence), Wade McCollum (Velociraptor of Faith), Lindsay Nicole Chambers (Velociraptor of Science), Shelley Thomas (T-Rex 1), Claire Neumann (T-Rex 2), Brandon Espinoza (Mime-a-saurus), Lee Seymour (Morgan Freeman) and Zak Sandler (Pianosaurus).  Originally produced in 2010 at the NY International Fringe Festival under the title “Jurassic Parq: The Broadway Musical” where it won “Best Overall Musical/Production.” After Off-Broadway, it was slightly re-written and presented at the Chance Theater in Orange County where it won the Ovation Award for “Best Production of a Musical (Intimate Theater)” in addition to two other awards.

How Does Set Design Influence a Production?

When you’re hosting a production, the set in which you design is a predominant aspect in determining how your audience will perceive your show. Sometimes the best way to get exactly what you want means designing yourself. If you have resources to work with, consider these ideas.

There are many questions and factors that go into planning and designing a set. Budgeting details need to be worked out as well as available work hours for crew to get going. When purchasing supplies, you of course want to make the best decisions for most affordable price.

Designing a perfect set and making things look the way you imagined doesn’t have to be expensive and pricy. When you plan details out, you can categorize elements of the set design process: which things you can do yourself, which elements you are able to rent, and which you must purchase. Then, deciding what to spend money on and what to build yourself comes naturally, thinking so

Renting backdrops and props can be make building the set easier. You’re able to spend less by returning something you may not use again. Renting companies provide help, answer questions and take really good care of their equipment so you know you’ll be getting quality designs.  

A set is the elements of the stage in which the actors interact with. It must be the perfect medium between enough detail, and not too distracting. What goes into your set will be directly related to your production. The backdrop is a very important aspect of the set design in which choosing can be vital to a shows success. You wouldn’t want to choose something inappropriate that doesn’t match your theme, colors that are too distracting, something too dismal, etc.

Movable or mobile elements of your set will help make things easy to take down and thus make more time available for other efforts. When planning the design of a set, the most efficient and movable objects and props are the most ideal.

The more time and effort you spend planning set design, the more easily executed the show will seem. Productions will directly benefit from proper set planning, and finding the best ways to easily and effectively bring your ideas to life.

Next time you’re beginning to plan your next set design, consider how it may be beneficial for you to rent a backdrop from Backdrops by Charles H. Stewart. Call us at (978) 682-5757 or visit our website at https://charleshstewart.com/

DO NOT Do This!

Here are a few things to keep in mind while renting backdrops.  More specifically, here are a few things you shouldn’t do when renting backdrops.  The big thing to remember is that you don’t own the backdrops.  Treat them as if you did, but remember that they are not yours and that other customers are waiting to possibly use the backdrops after you are finished renting them.  They want the backdrops in as mint condition as possible for their shows too.  So with that being said, here are some hints to avoid any damage and extra fees.

DO NOT nail, staple, tack, or pin the backdrops in any way.  It says this right on the contract!  Here’s what happens.  Nails, staples, tacks, and pins create holes.  The stress of the weight could rip that pin and create a huge problem.  Over time, the small holes from the pins and staples add up deteriorating the integrity of the fabric.  So no adding company logos or cardboard cutouts such as stars or clouds directly to the backdrops.  And no adding Velcro pieces either.

DO NOT cut or alter the backdrops in any way.  Again, it says this right on the contract.  Believe it or not, we have received backdrops back from customers literally cut into pieces.  We have also had backdrops returned with new additions painted on the backdrop that were not on the original design.  Remember, you don’t own these.  If the backdrop you see on our website does not fit your needs, then ask us if we have something else.  Do not take it upon yourself to change it because you think it would look better with your idea on it.  We design our drops to fit a myriad of different shows to satisfy as many customers as possible.

DO NOT lay the backdrops face down on the stage.  This was covered in a previous blog entry, but it can be mentioned again.  Always place the backdrops face up for hanging and folding.  This keeps the painted side clean.  On this note, DO NOT forget to sweep your stage before you lay the backdrops on the stage.  The backdrops are not to be used as a broom to sweep your stage.

If you need to add rope extensions to hang the backdrop, DO NOT forget to remove them when you are done.  Also, leave the original tie lines attached to the backdrop, which leads to my next point.  DO NOT cut off the original tie lines when removing the backdrop from the pipe.  There’s no need to tie sailor knots that are impossible to untie.  Simply tie the lines like a shoelace.  There are typically 40+ ties per backdrop.  The shoelace knots will hold.

While we’re talking about hanging the backdrops, if you need to use a cherry picker to hang the backdrop, DO NOT let the backdrop hit any of the greased parts on the machine.  Grease is impossible to remove or camouflage especially if you’re using a white scrim or cyclorama curtain.  Make sure there’s a person on the ground monitoring this.

Lastly, DO NOT get too close to the backdrops when they are hanging.  Performers should not get too close to the backdrops while on stage.  We don’t want them tripping over or grabbing on to the backdrops for fear that someone could get hurt.  If you have built sets, try to keep them as far away from the backdrop as possible.  When I get a backdrop back with a large rip on it, it is usually because it got caught on a built set, or it caught on the strip lights up high.  So, if you can help it, place your built sets as far away from the backdrops as possible and hang the backdrops as far away from the strip lights as you can so that they can’t get caught on that either.  I know it happens.  Just be wary of it.

These are basics to help keep our backdrops in good condition.  We know that 99% of the time any damage occurs it is not intentional.  We simply want our backdrops to last and to be in great condition for as long as possible and for as many customers as possible.

How To Fold and Pack a Backdrop

“Using a backdrop for my show makes scenery a whole lot easier than making my own scenery.  But I have no idea how to fold it back up to fit in the box.”  This is a common comment that we get here at Charles H Stewart.  So, I thought I would reiterate what comes with every backdrop we rent.  Instructions on how to fold and package a backdrop and why we do it this way.

When you open up one of our backdrops, you will see that the box is labelled in Sharpie pen on the ends with the id number and description of the backdrop that is inside the box.  Obviously, the backdrop is also marked with the same information.  You will also notice that the backdrop is wrapped in a plastic bag and that there are loose pieces of cardboard on the top and bottom of the box.  There is also a “How to Fold a Backdrop” instruction sheet and a “Caution: Save Plastic Bag” sheet in the box.  Lastly, on the outside of the box, there will be a plastic pouch.  Inside the pouch are your prepaid UPS return label(s). (In some instances, there will be no pouch with the return labels.  They will be emailed to you if this is the case.)

When you open the box to unfold the backdrop, you need to save all of these pieces for repackaging when you are done.  So save the box, the bag, the cardboard pieces, the instructions, and most importantly, the return labels.  If any of these should be misplaced, no worries.  Any box or bag will do for shipping.  And, we can always send new return shipping labels via email too.  It’s no big deal.

However, what is a big deal is that before you lay out the backdrops for hanging, please, SWEEP THE STAGE!  This keeps the backdrops from getting dirty.  Dirt is very difficult to clean off of scrims, cycloramas, and velours.  Also, make sure that the stage isn’t wet.  Water will also damage the backdrops.

So, you hang the backdrops and have your show.  Now, it’s time to take the backdrops down and pack them up for shipping.  Before you take them down, you have to do one important thing.  SWEEP THE STAGE!  And make sure the stage isn’t wet.  Also, please lay the backdrops on the stage with the painted side up and not face down.  Once again, this prevents the backdrops from getting dirty.

Here’s where those two instruction sheets come in handy.  First, you have to fold a backdrop.  We have a preferred way on how we like the backdrops folded, but we know that there are some very experienced stage hands that do not fold the backdrops the way we prefer.  That’s OK.  As long as it folded neatly and it fits in the box, we’re cool with that (just don’t roll it in a ball and stuff it in the box!).  But we like the backdrops folded accordion style because when the backdrop is folded and placed in the box, we can see the id number right on top for a quick check in especially during our busy season when time isn’t our friend.  Plus, our method is fast and only takes two people.  Basically, while the backdrop is face up on the stage, one person goes to the top corner and one person goes to the bottom corner on the same side.  While crouching down like a catcher, each person reaches out an arm length and pulls the backdrop to the corner.  Repeat this until the backdrop is about two feet wide.  The person at the bottom takes the bottom and folds it up to the top.  Repeat until you see the backdrop taking the shape of the box.

Once you are done folding, wrap it in the plastic bag.  Why?  The plastic bag protects the backdrop from dirt and more importantly dampness just in case the box itself happens to get wet.  If we get a backdrop back damaged due to wetness and it is not wrapped in plastic, then you will be responsible for the damage.  On top of that, if another customer is waiting for the backdrop and we cannot get it to them due to your negligence, then you would be responsible for lost rental charges while the backdrop is being repaired.  Now, this information isn’t meant to scare you.  But it is mentioned to show the importance of packing the backdrops up appropriately.

Before you put the wrapped backdrop in the box, you need to do a couple of things.  First, place one of the cardboard pieces across the bottom of the box with the two instruction sheets.  Second, match up the labelled backdrop with the labelled box.  If you have rented multiple backdrops from us (we’ll call them backdrop # 0001 and # 0002), you want to make sure that backdrop # 0001 is in the box labelled # 0001 and that backdrop # 0002 is in the box labelled # 0002.  Third, after you put the backdrop(s) into the correct box, place the other cardboard piece across the top of the backdrop.  Close and seal the box.  Last, place the UPS return label on the boxes.  In the lower left corner of each return shipping label will be the corresponding backdrop id number.  So again, match the # 0001 label with the # 0001 box and the # 0002 label with the # 0002 box.  Now, you have matched the labelled backdrop with the labelled box and placed the matching return label on the box (# 0001 backdrop is in the # 0001 box with the # 0001 shipping label).  Why is this important?  Because sometimes we ask that you forward our backdrops to different locations.  We will make sure that your UPS return labels are addressed correctly, but if a backdrop is not coming back to Charles H Stewart, we want to make sure that you send the correct backdrop to the correct location.  We do not want you to place backdrop # 0001 inside the # 0002 box and vice versa.  Imagine you receive your backdrop.  You’re expecting backdrop # 0002.  You get the box, and it’s labelled # 0002.  But, you get to the theater on Friday night, open it up, and backdrop # 0001 is in the box.  Not good.  Just match the three numbers even if everything is shipping back to us!

Here are the two instruction sheets that are in each of our backdrop boxes:

 

Based on a True Story

Most Broadway musicals are works of fiction.  However, non-fiction stories make their way to the stage with regularity as well.  Well, at least, they are stories based on a true story.  Some of classics include shows such as Annie Get Your Gun, George M, Fiorello!, and The Unsinkable Molly Brown.  Some others that are classics or yet to be are as follows:

 

Hamilton: An American Musical

Probably, the most popular show presently running, Hamilton: An American Musical is a sung and rapped-through musical about the life of American Founding Father Alexander Hamilton, with music, lyrics, and book by Lin-Manuel Miranda, inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow (I have read this book!). Notably incorporating hip-hop, rhythm and blues, pop music, soul music, traditional-style show tunes, and the casting of non-white actors as the Founding Fathers and other historical figures, the musical achieved both critical acclaim and box office success.

The musical made its Off-Broadway debut at The Public Theater in February 2015, where its engagement was sold out. The show transferred to Broadway in August 2015 at the Richard Rodgers Theatre. On Broadway, it received enthusiastic critical reception and unprecedented advance box office sales. In 2016, Hamilton received a record-setting 16 Tony nominations, winning 11, including Best Musical, and was also the recipient of the 2016 Grammy Award for Best Musical Theater Album and the 2016 Pulitzer Prize for Drama. The prior off-Broadway production of Hamilton won the 2015 Drama Desk Award for Outstanding Musical as well as seven other Drama Desk Awards out of 14 total nominated categories.

 

1776

In keeping with the American Revolution theme, 1776 is a musical with music and lyrics by Sherman Edwards and a book by Peter Stone. The story is based on the events surrounding the signing of the Declaration of Independence. It dramatizes the efforts of John Adams to persuade his colleagues to vote for American independence and to sign the document.

It premiered on Broadway in 1969, earning warm reviews, and ran for 1,217 performances. The production was nominated for five Tony Awards and won three, including the Tony Award for Best Musical.  In 1972, it was made into a film adaptation and was revived on Broadway in 1997.

 

Evita

So let’s stay on the political front.  Evita is a musical with music by Andrew Lloyd Webber and lyrics by Tim Rice. It concentrates on the life of Argentine political leader Eva Perón, the second wife of Argentine President Juan Perón. The story follows Evita’s early life, rise to power, charity work, and eventual death.

The musical began as a rock opera concept album released in 1976. Its success led to productions in London’s West End in 1978, winning the Laurence Olivier Award for Best Musical, and on Broadway a year later, where it was the first British musical to receive the Tony Award for Best Musical.

This has been followed by a string of professional tours and worldwide productions and numerous cast albums, as well as a major 1996 film of the musical starring Madonna and Antonio Banderas. The musical was revived in London in 2006, and on Broadway in 2012, and toured the UK again in 2013–14 before running for 55 West End performances at the Dominion Theatre in September–October 2014.

 

Catch Me If You Can

Catch Me If You Can is a musical with a libretto by Terrence McNally and a theatrical score by Marc Shaiman and Scott Wittman. It follows the story of a con artist named Frank Abagnale Jr.  A majority of the plot is borrowed from the 2002 film of the same name starring Leonardo DiCaprio and Tom Hanks, which in turn was based on Abagnale’s 1980 autobiography.  Abagnale lived his life as a former confidence trickster, check forger, and impostor between the ages of 15 and 21.  He became one of the most famous impostors ever, claiming to have assumed no fewer than eight identities, including an airline pilot, a physician, a U.S. Bureau of Prisons agent, and a lawyer. He escaped from police custody twice (once from a taxiing airliner and once from a U.S. federal penitentiary), before he was 21 years old. He served less than five years in prison before starting to work for the federal government.

After a tryout musical performance in Seattle in 2009, Catch Me If You Can opened at Broadway’s Neil Simon Theatre in April 10, 2011. The production received four Tony Awards nominations, including one for Best Musical, winning Best Actor in a Musical for Norbert Leo Butz.  The show closed on September 4, 2011 after 32 previews and 170 performances.

Common Questions about Backdrops

If you have an upcoming performance, dance recital, or event that needs that final element to make your presentation unforgettable, a backdrop may be just the answer. Backdrops by Charles Stewart has been the leader in scenic design and backdrop rentals for over 120 years. We carry over 1,500 backdrops, drapes, lames, and scrims for your performance. Not only do we offer a huge variety of backdrops, we have experience that can help you answer all your performance questions accurately. Here are some of the more common things directors, producers, and prop masters ask us when it comes to our products and services.

 

  • What kinds of backdrops and sizes are offered at BCS?

 

Charles H. Stewart offers a wide variety of backdrops designed to accommodate most high quality productions for theatres, schools, dance recitals, corporate events, and the like. Many of our backdrops are inspired by Broadway performances and have been organized into categories that reflect this on our website. For example, our backdrops are searchable by category, show, or even customizable with your unique design in mind. In addition we offer drops in a variety of sizes for your stage. We can create a backdrop of any size to your exact specifications on a custom order. However, our standard sizes for backdrop rentals are mostly 18×42 or 15×36.

 

  • How are the backdrops hung and are they compatible with the equipment at our venue?

 

All of our backdrops come with grommets and tie lines spaced approximately 12-14 inches apart. We ask that you only hang the backdrops using the grommets and tie lines provided. Please do not pin, staple, tack, or tape the backdrops at any time. Our experts can talk to you about how these can be hung and how to do so safely.

 

  • What about rental periods and arrival dates?

 

Our rentals typically are on a week-by-week basis, starting on a Monday and ending on a Monday. If you would like to have the drop ahead of time (and it is available), we may be able to offer (but not guarantee) early delivery. We also offer limited partial week rentals. We use UPS shipping to guarantee tracking for prompt arrival and suggest our clients use the same method for return shipping as well. The shipping is a separate fee. If an emergency arises and you need the drop for a longer period call us immediately so we can make certain that another client does not need the drop.

 

If you have further questions about billing, shipping and backdrop options see our FAQ section on our website or call Charles H. Stewart at (978) 682-5757 – www.charleshstewart.com

Planning Your Broadway Trip!

If you love the theater like we love the theater, then you probably plan trips there as often as you can. However, if you are a novice to Broadway, then you may be looking for tips to get there, enjoy a show, and not break the bank, right? So if you want to head to New York City and see the bright lights of Broadway then here are some ideas on how to make the trip and leave your savings account intact. Let’s plan a Broadway trip!

Getting There – Depending upon the distance you have to travel, you may need to fly, take a train, subway, bus, or all of the above. Watch your favorite websites for the best deal on tickets until you think you have the best option available.

Accomodations – While there are hundreds of travel sites that offer discount hotel prices, we suggest you think outside the box because even the cheapest hotel room will run you quite a bit of money. Try something like staying on a friend’s couch or possibly Airbnb. If all else fails stay right outside of the city or across the river in Jersey for better rates.

Getting Tickets and What to See – Obviously as a theater lover you will want to catch a show or two while you are in town. Check out sites like: Playbill, TheaterMania, and BroadwayWorld. They are fantastic sites for show news and theatre insights to get you in the mood for Broadway!

While you are visiting Broadway, enjoy all there is to see! Remember to look for our backdrops and give us a shout if you see something you love!