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-Speech Building. However, aside from the original brick exterior, everything is new – from the copper roofline to the miles and miles of conduit buried underneath. Seating in the auditorium ranges around 600 depending on configuration – about half of Eastvold’s former capacity. By removing those extra seats, architects were able to create space for an orchestra pit, and greatly enhance the acoustics and the sightlines, vastly improving what Clapp calls the “audience relationship.” The sound, lighting

-Speech Building. However, aside from the original brick exterior, everything is new – from the copper roofline to the miles and miles of conduit buried underneath. Seating in the auditorium ranges around 600 depending on configuration – about half of Eastvold’s former capacity. By removing those extra seats, architects were able to create space for an orchestra pit, and greatly enhance the acoustics and the sightlines, vastly improving what Clapp calls the “audience relationship.” The sound, lighting

. However, aside from the original brick exterior, everything is new – from the copper roofline to the miles and miles of conduit buried underneath. Seating in the auditorium ranges around 600 depending on configuration – about half of Eastvold’s former capacity. By removing those extra seats, architects were able to create space for an orchestra pit, and greatly enhance the acoustics and the sightlines, vastly improving what Clapp calls the “audience relationship.” The sound, lighting, rigging, and

of the School of Arts and Communication. “The new studio theater will enable us to offer additional student-based performance space,” Bennett said. “As a student-based space, more senior capstones, performances, scene and lighting designs, and plays will be produced.” “Because of this space becoming stronger, the students will have a lot more opportunity and they’ll have a home,” Clapp added. “This new space will provide our students with a central campus location,” Bennett said. “This will be a

. PLU’s production will be set on a 1920s movie studio back lot to highlight the screwball comedy inherent in the text. The production’s Director and Chair of Theatre & Dance, Tom Smith, proclaims, “We have a large cast, a crazy set, and fantastic costumes and lighting. We’re supplementing that with foley—live sound effects—and the result is like watching a movie played out live on stage!” Like all of Shakespeare’s comedic plays, a deeper look at the script allows audiences to find important themes

. PLU’s production will be set on a 1920s movie studio back lot to highlight the screwball comedy inherent in the text. The production’s Director and Chair of Theatre & Dance, Tom Smith, proclaims, “We have a large cast, a crazy set, and fantastic costumes and lighting. We’re supplementing that with foley—live sound effects—and the result is like watching a movie played out live on stage!” Like all of Shakespeare’s comedic plays, a deeper look at the script allows audiences to find important themes