Issue link: http://digital.copcomm.com/i/1381679
green screen. We also had lobby scenes and an important backstage sequence and nothing we saw was working very well for any of those events. Our last stop was the Loews Theater in Jersey City, which is a 1920s movie palace in much need of a costly renovation. The theater itself is a vast three thousand-seat auditorium that has certainly seen better days. We exited the auditorium through the magnifient ea arts l ere ntied tat the central space was shaped in the manner of a horseshoe opera house complete with six boxes and a spectacular chandelier. This was my eureka mment tld an and Diana tat tgt e should build the opera house in the lobby using the existing street entrance and building the stage and set on the opposite side. The architecture of the space was perfect and provided box seats with direct eyelines from one to another and a direct view of the stage that was intimate and would allow the connection of Emily and Sue/ Violetta to be shot practically. With the exception nerting te eletri fitres t gas and te painting out some hard-to-reach modern details, all of the scenes could be shot practically. The stage was built, complete with oil lamp footlights and a golden velour curtain built to swag open dramatically at the top of the opera. Over a hundred matching period chairs were trucked in rm a rental se in s ngeles. n theater seats familiar to audiences today would nt ae eisted s te allenge as t find s man mating erid airs il. ered the windows in the back of the orchestra with a painting of clouds by my favorite painter of clouds, John Constable. They ended up being featured in the frame with Emily and Sue looking out into the restra. as nerned tat te era elements e as atenti and seifi t La Traviata as ssile s remmended m lleage ein D E F G H