In response to Laura Koch's plight [000116 MMDigest], this was my
encouraging reply the same evening:

 - - -

Hello Laura.  I am gainfully employed as a backstage tech for 25 years
at the Stratford Festival Theatre in Stratford, Ontario, Canada.
Perhaps you've heard of us?  In my extracurricular moments I am an
enthusiastic collector and restorer of all things mechanically musical,
from phonographs through player pianos to reproducing pipe organs.

More to the point, you may recall that the Festival put on "The Music
Man" several years ago.  Here is how we handled the logistics of the
required piano antics you are facing.  I know quite well because I
advised, collaborated and provided the inner workings for "Music Man".

Several departments were of course involved in making this magic happen
flawlessly for every performance.  The director, Brian MacDonald, was
astounded and pleased, particularly the first time it was demonstrated.

This is a quick overview in order to offer initial encouragement.
I can put you in touch with the individuals who 'finorkled' the
various components: Electronics, Sound, Props, Scene Shop, etc.

From our extensive warehouse stock we modified a lightweight prop
upright piano previously contrived of 1/4" plywood skin with
embellishment decoration over a wood or welded aluminum braced frame.
This prop had served over the years as a mock player in our production
of 'Gypsy', and another less known play.  (Same designer for the three
shows: Debra Hanson.)

The original prop had an un-weighted piano keyboard from a stripped
real upright piano (no hammer action required) fitted to the shell.
An electric barbecue spit motor on the end of a long fitted camshaft
turning below the backs of the keys simulated the random up and down
key motion.  

The heavy frame and solid top were built to withstand young Gypsy
and Baby June's playful gymnastics atop and over the correspondingly
extremely lightweight piano.  This was considered a subtle and
appropriate success.  The simulated roll compartment doors were closed.

For "The Music Man", though, this time we wanted the roll mechanism
to operate visually.  As you know there is a hilarious bit of business
several times with the accompanist at the back of the Gym/Town Hall.
In our case, and to keep costs down, we retained the 'random motion'
cam setup for the keyboard, and I provided the roll box portion of a
player piano stack.

Fitted behind the now opened doors, the original roll drive transmis-
sion, through it's original sprocket gear, was once again driven by a
reduced gear-down electric motor fitted with a corresponding original
sprocket and ladder chain.  (The final motor RPM is important.)  A
two-way solenoid engaged the original push-pull Play/Rewind mechanism
integral to the transmission.

I also provided an original strong and visually interesting paper roll
that remained in the spool box, being rewound back to the start for the
next show.  The roll tracking mechanism was disabled and the spool
shafts and axles were aligned and locked in place for the duration.

The musical ran in repertory for 6 months with no problems.  But then,
to keep the machine in fine adjustment, we did have a player tech --
your's truly -- in the house!  ;-)

All three electrical circuits were ganged and controlled remotely on
cue from the Stage Manager's booth (I think; it may have been the Sound
Booth).  Rather than the weight of a real piano and the inherent tuning
upkeep, the prop contained a loudspeaker for player piano music sound
files, again transmitted remotely when required.  Foolproof, reliable
and utterly convincing.  Yes, "Columbia, Gem Of The Ocean" was
pre-recorded.

As to the accompanist's shenanigans on-stage, a handful of fake piano
rolls were scattered on the top of the piano, and boxes too.  Using
real piano roll spool cores and end flanges(*), large rolls of brown
construction paper (or buff butcher's paper) were cut on the bands to
exactly 11.25" width and a suitable length wound onto these prop rolls
before the next show by a crew member.  Due to the natural resilient
curl of the paper stock this made it possible for the Lady in Question,
for her initial scene, to drop one in the general direction of downstage,
whereupon it rolled back to her!

(* Do not use original Bakelite flanges as they shatter!  Use modern
plastic end flanges.  I know where you could probably buy a gross or
more.)

Her final bit o' business in the last act was to simulate getting
caught in the roll box, whereupon more rolls hit the stage and she
madly scrambled about gathering them to her ample bosom and crushing and
tearing apart the fake paper rolls, in an attempt to quit interrupting
Mayor Shinn.  And of course all hell breaks loose...!

By the way, the piano was equipped with self-contained air castors.
Thus it was easy to move, yet firmly planted on mark with a flip of a
toggle.

You get the idea.  I'm going to have a search for the photographs I
took of the installation of these various devices.  No damage was done
to the on-loan-from-me original parts, including the original roll in
the Rolex!  The stack, one of my spares, remains still in my attic and
I received the control electronics and motor in return for my trouble,
which it wasn't at all.

Please feel free to contact me via e-mail if I can be of further
assistance.

Dave Kerr - Stratford Ontario

 - - -

Laura replied:

So Dave,  Since you are a mechanical music master, would you be
interested in crafting a piano for us?  Rehearsal starts 2/2 and
Stroman (that's the fantastic Susan Stroman) wants the piano 2/11.
I planned to buy two shells and create a rehearsal dancing piano to
learn choreography while we build the show version, which would be
needed 3/9 for dry tech.

Now Dave, I did NOT lie or fudge these dates to protect myself.  So
would you be interested?  Does your schedule permit such a project?
How much will it cost?

Please let me know asap.  I leave this location 1/22 so I could use
an answer before 1/21.  Or page me after the 22nd.

Thanks.  Laura Koch

 - - -

To which I have responded:

Laura,  I cannot possibly entertain the notion, I'm afraid.  We are
revving up here on our 2000 season.  This is true for all the shop folk
who contrived that piano.  Exactly the wrong time of year; none of us
would be available until at least late August.

My best suggestion is that you take the idea (you're welcome to it,
by the way) and my description to the local prop/scenery shop that
Broadway would normally use.  Susan -- who, incidentally, directed our
'Man of La Mancha' and is coming to do this year's 'Fiddler On The
Roof' -- can surely point you in the direction of New York designers
that she has worked with who would know exactly where such a project
could be quickly fashioned.  Such a concern will know where to obtain
the original parts I described or I will happily furnish them a list
of hobby people contacts in their area.  I think it best that someone
well-meaning *not* try to approximate a faked roll box interior --
the orphaned stacks are out there...

If it helps, remind Susan that I am the fellow who created Juan
Chioran's articulated 'Don Juan' beard two years ago.  Show her our
correspondence.  Ms. Stroman is a lady who gets things done and I
respect her highly.

I have located the pictures I mentioned and will scan and send them to
you when you write back from your next location.  On tour, are you?
With what and where?

By the way, I was in the warehouse yesterday and the sturdy old piano
prop shell is awaiting it's next on-stage mission, non the worse for
stalwart services rendered.

Encouraging regards,

Dave Kerr, Technical Supervisor,
Wigs and Makeup Department, Stratford Festival.
Stratford, Ontario, Canada.