Focus On: Austrian and Braille Curtains

Austrian and Braile Curtains are generally used as Front Curtains (aka Main or Act Curtains), when theatre personnel would like to fly the Main Curtain but have little or no loft space. 

When a traditional backdrop or curtain is flown into the loft, an amount of loft space in excess of the height of the curtain (plus the batten or whatever it is hung on) is required.  For example, a curtain that is 20 feet high might require at least 21 or 22 feet of loft space, or even more, depending on the sight line of the audience.  In the case of an Austrian or Braille, however, the drape gathers upon itself as it opens, requiring little space in the loft – when in the full open (raised) position, it can easily be hidden behind a proscenium or border, taking up very little loft space.

Through the use of a series of lift lines on the back of the curtain, the Austrian or Braille is raised and lowered, with the bottom of the curtain drawing up against itself as it makes its way to the top.  This is similar to the Contour Curtain.  However, in the case of the Contour Curtain, differing amounts of lift are used on the liftlines, giving the curtain the contoured effect.  With an Austrian, equal amounts of lift are given to all of the lift lines, so that the entire curtain raises and lowers in a smooth, fast, and even fashion.

What is the difference between an Austrian and a Braille?  Both use the same lift line system, and both raise and lower in the same manner.  The difference is in the fullness and how the drape appears in the lowered (closed) position.  When down, a Braille Curtain resembles a regular curtain with fullness (similar to a pleated traveller curtain).  An Austrian, however, has additional horizontal fullness created by gathering the fabric along the vertical seams, creating a series of swags even when the drape is in the lowered position. 

Typical fabric choices include theatrical satin and silky chiffon.  Austrian and Braille Curtains required motorized rigging systems to allow the liftlines to be raised and lowered simultaneously in a quick and smooth fashion.

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Focus On: Contour Curtains

A Contour Curtain is made as a single panel with great fullness, usually about 200% of the curtain width.  The curtain, which is made of a thin / soft fabric so that it drapes well, is raised and lowered by a series of draw lines attached to the bottom edge of the curtain and running through rings on the back to pulleys attached on the batten above the curtain.  As each of the lift lines act independently, by varying the lift on the individual lines, the curtain takes on many different contours.

In this drawing, less lift is applied on the outer edge lines (noted as # 1 & # 6), and then greater lift is gradually added going toward the center of the curtain.  This creates a graceful arched opening. 

Iridescent Silky Charmeuse is an excellent fabric choice for a contour curtain.  The type of track or rigging required will vary depending on the size of the curtain, the number of lift lines, and whether a motorized application is preferred.  A Contour Curtain can also be used as a stationery decorative set piece; in that case, since it would not need to open or close, it can be hung from a batten with fixed lift lines.

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Fabric Flammability

Continuing on the subject of flame retardancy, I thought I’d give a brief synopsis on the flammability of fabric.  Consider the flammability characteristics of different fibers (in their natural state, not factoring in topical FR treatment) may assist you in making decisions on the type of fabric to choose for your next custom stage curtain.

Many synthetic fabrics are, naturally, extremely flame resistant.  When they do burn, however, they will typically melt.  The result can be extremely dangerous if it comes in contact with skin.

Natural fibers typically do not melt.  However, depending on the fiber, some burn more quickly and readily than others.  Wool, for example, is slow to catch fire and may actually self-extinguish.  Cotton, on the other hand, can ignite quickly, with the flame spreading rapidly as well.

Fabrics made of a blend of natural and synthetic fibers can offer the “worst of both worlds,” combining the quick ignition of the natural fiber with the melting characteristic of the synthetic fiber.

Luckily, in many cases, chemical treatments can be used to make many fabrics much more resistant to fire.  However, not all fabrics can be chemically treated for flame retardancy (such as most metallic fabrics).  When in doubt, ask your fabric supplier if the fabric you are considering is flame retardant (or can be treated to be flame retardant), and make sure you get a Certificate of Flame Retardancy when you purchase.

If you’d like to learn more about this topic, I have written an article that is available on our website.

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The Economic Downturn and the Textile Industry

It seems that the state of the economy is top of mind for just about everyone these days.  We hear a lot about how the economy has affected the auto industry, the housing industry, etc.  But the reality is that it is impacting just about every industry in the U.S., including the textile industry.

U.S. textile mills have been struggling against the influx of goods from textile mills in other countries, particularly India, Pakistan and China, for quite awhile now.   According to EconomyWatch, in 2007 production in U.S. textile mills fell by more than 12 percent.  ABC News reported that, from October 2007 through October 2008, about 100 textile mills in the U.S. closed, leading to the layoff of over 63,000 U.S. textile workers.  Now, with the downturn in the economy over the last six or eight months, things may be getting worse.

While the emphasis in these articles is on apparel textiles, the import of foreign textiles as well as the struggling U.S. economy has hit the U.S. textile industry as a whole, including those mills that specialized in theatrical fabrics.  We have certainly seen a trickle-down effect, but the most significant impact that I have seen over the last six to twelve months is on availability:

• Longer lead times.  In the past, it might have taken two weeks for milling, while now it may take four or six weeks.  I cannot say definitively the reason for the longer lead time, but I would guess that it is due to a smaller workforce (layoffs).
• Less In Stock.  Many of the large fabric suppliers are stocking fewer fabrics than they were a few years ago.  They just don’t want to tie up as much money in inventory, so they are waiting for firm orders before sourcing the fabric from the mill.  For suppliers with multiple stocking locations, they may stock some fabrics in one location only, rather than in several locations across the country. 

 So what does this all mean for the end-user – the school or church wanting new custom stage curtains or the rock band wanting a new custom backdrop?  In many cases, it may mean making a choice between waiting longer to get their drapery or choosing a different fabric that is readily available.  It may mean paying a higher price for a drapery due to the cost to bring the fabric in from a location out of state.  The best thing I can recommend is, be flexible and plan ahead!

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What is FR? IFR? NFR? Here’s the Scoop.

The issue of flame retardancy for stage curtains, trade show drapes, and other hanging drapery is one that I am sure is confusing to many people.  I have been educating myself on this subject for a number of years, and I still feel as if I have just scratched the surface.  I can’t imagine how difficult it must be for a novice trying to figure it all out, so I thought I’d pass along a little of what I have learned .  There are many different topics related to flame retardancy, so I’ll start with the basics and cover more topics in later posts.

DEFINITIONS OF FLAME RETARDANCY TERMS

FR (Flame Retardant):  Fabric has been topically treated with a flame retardant chemical, which is water-soluble and will be removed by laundering.  Even without laundering, the chemical will dissipate over time, requiring that the drapery be re-treated.  Cottons, other natural fiber fabrics, and some synthetic fabrics are topically treated.

DFR (Durably Flame Retardant): Fibers have been manufactured with a flame retardant process prior to being woven into fabric.  As a result, the fabric is typically flame retardant for the life of the fabric.  This is the case for many polyester fabrics (though not all).

PFR / IFR (Permanently Flame Retardant):  The fibers themselves are non-combustible.  Therefore the woven fabric is considered flame retardant for the life of the fabric.  This is the case for most Avora™ polyesters, Trevira™ polyesters, some other polyesters, and some other synthetic fabrics.

***DFR, PFR, and IFR are often used interchangeably, because the effect is the same – all are considered flame retardant for the life of the fabric.

CBFP / CBFR (Can be Flameproofed / Flame Retarded): The fabric is not flame retardant, but can be topically treated with a chemical to make it flame retardant (FR).  This might include a cotton fabric that is usually sold as NFR but can be treated by a registered flame retardancy applicator facility.

CNFR (Cannot be Flame Retarded):  The fabric is not flame retardant and cannot be topically treated with a chemical for flame retardancy.  This includes most fabrics that have metal in the weave.  Acetate is another fabric that usually cannot be flame proofed.

If you’d like further details on these terms, you can find it here.

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Focus On: Teasers and Tormentors

A theatre’s proscenium is part of the architecture and therefore it has fixed proportions that cannot be changed. In many production scenarios, however, the scene calls for a reduction in the proscenium opening. For this purpose the teaser and tormentors are placed directly upstage of the structural proscenium opening. Within certain limits the size of any proscenium arch can be altered by using a teaser and tormentors.

The teaser is a horizontal masking border that is lowered to reduce the height of the opening. It is attached to a batten and suspended just upstage of the proscenium, directly behind the grand drape or act curtain. The teaser can be lowered into position to set the stage height as required by the current scene.

Tormentors or “side maskings” are vertical masking pieces used in conjunction with a teaser. In a traditional setting the tormentors should be mounted upstage of the grand drape and on the same plane as the teaser. While various mounting methods may be used, a tormentor is typically attached to a pipe which is then mounted to a traveler track. The track will allow the tormentors to be drawn onstage to reduce the proscenium opening to fit the current scene. In many installations the pipes will be equipped with a swivel component allowing the tormentors to rotate into an angle, or even reverse to reveal an alternate fabric or finish.

Typical Fabric Choices for a teaser or tormentor include velour, either cotton or synthetic, or commando cloth. The teaser may be sewn from a black or neutral colored cloth with fullness. Alternatively it may be made as a solid framed piece with the fabric applied stretched flat. The teaser and tormentor will always be manufactured of the same material.

Shane Nelsen, our Creative Director at Sew What?, drew a beautiful rendition of how the different drapes (including teasers and tormentors) appear together on a stage.  Take a look at it – it is not only beautiful but a great way to have a visual understanding of how all the different drapes work together.

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Focus On: Traveler Curtains

One type of front curtain (also called “act curtain” or “grand drape” is a traveler curtain. The conventional action of a Draw or Traveler curtain is the drawing together of two curtain halves on two overlapping sections of track. This is called “bi-parting,” in which the two drapes meet in the middle of the stage with a slight overlap and then part to be stacked on either side of the stage.  Sometimes a one-way traveler is needed, which means that instead of coming from opposite sides of the stage, the curtain is drawn on stage from one side on a single long track.

Pleating and fullness can vary for a main stage traveler. 50% fullness would usually be the minimum amount of fullness desired, and up to 100% fullness can be seen in a very premium installation. Main stage traveler cutains are traditionally made in theatrical velour, either cotton or synthetic. A fabric lining can also be considered based on budget and need. 

Here is an example of a pair of bi-parting traveler curtains in the open position:

Here are the same curtains in the closed position.

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Why is one quote for stage curtains so much lower?

So, you’ve gotten two bids on new custom stage curtains, and one quote is lower than the other.  What could be the differentiating factor between two otherwise identical quotes? 

There are many factors that can affect pricing – some good, some bad (at least from the buyer’s perspective):

• Substitution of a “no-name” fabric
• Old materials / materials whose flame retardancy is close to expiration
• Returned / used fabrics
• Sub-standard workmanship

These all sound like scary reasons for a lower bid.  But there are also some positive reasons that one vendor can offer a lower bid than another:

• Lower overhead
• More efficient production methods
• Greater purchasing power
• Leaner profit margins 

The fact is, there is no easy way to know if a lower price is better, and so in my opinion, decisions should be based on more than price.  Yes, price has to be considered, especially in light of today’s economy.  But it shouldn’t be the only consideration. 

Does one company have a reputation of offering superior workmanship?  Has one company provided timely, prompt customer service?  Have you received fabric samples from both vendors and, if so, are the fabrics identical, or does one fabric appear to be of higher quality?

After evaluating all of the factors – price, product quality, company reputation, customer service – you will then be able to make an informed decision as to which quote to accept.  You may still choose the lower quote, or you may decide to choose the other bid despite the higher price.  Either way, you will feel more comfortable with your decision in the long run.

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Where to Start for New Stage Curtains

Thinking about replacing those old, tattered drapes in your school auditorium or community center stage with beautiful new custom stage curtains, but not sure where to start?  It can seem like a daunting proposition, especially for a school parent or church volunteer with no background in the theatre. 

Don’t worry – it’s not as hard as it seems.  To get you started, I’ve prepared this quick checklist: 

1)    Figure out the approximate size that you will need, based on the size of the existing curtains.  Check for a label to see if the height and width are listed.  If not, measure the existing drapes. To measure width for pleated drapes, measuring along the top edge generally gives a more accurate measurement than measuring along the bottom hem.

2)    Determine the top, bottom and side finishes used on the existing drapes.  For the side hems, simply measure the size of the turnback on the back of each side of the drape. 

3)    Determine the fullness used in pleating.  You don’t have to figure it out exactly, just have a rough idea.

4)    Consider your fabric options.  Generally, theatrical velours or similar fabrics are used for traditional stage curtains.  However, within that category, there are many different options to suit your budget and your taste.

Need help?  Just give us a call.  We can give you more information, make suggestions, even send fabric samples.

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What fabric is best for stage skirts and black stage curtains?

I’ve been noticing a trend recently.  For years, we’ve been making stage skirting and masking stage curtains for music tours out of FR 16oz Commando Cloth (also known as heavy weight duvetyn).  It blocks most of the light and it is quite affordable.  The downside is that it is less durable (since it is cotton) and the topical flame retardancy treatment dissipates over time, which can be an issue if the soft goods become damp (such as at outdoor venues).  It works fine for a single tour, but Commando soft goods often end up in the bin after the tour is over.

Lately, though, many production designers are choosing to use PFR Encore Velour instead.  Not only does it provide terrific masking and light blockage, but as a polyester fabric, it is much more durable and is permanently flame retardant, allowing the possibility of using the skirts and stage curtains for more than one tour.  It does cost a little bit more upfront but can be more economical over the long run.

So, any production designers or tour managers out there…let me know what you think.  Is Duvetyn still the way to go, or are you moving toward polyester alternatives such as Encore?

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