Dear Editor,
Please allow me to add my few pennies as we follow the comments and charges as it relates to the National Cultural Centre in general. While I will not condemn or criticize any remarks made by individuals who believe that more should be done, let me hasten to say that there’s much more in place than is seen by the average patron who attends the centre.
In brief, I was privileged to have had the opportunity of serving in both a senior administrative and technical managerial position at the NCC. Since the beginning of my employment at the NCC in September 1976 until I left to further my studies in 1988, I always saw and advocated the best when it came to several areas of importance in the following order:
1. Public safety
2. Effective lighting & sound
3. maintenance
4. Staff training & security
While these areas may appear not that much, these were the most significant when it came to effectively running the operations of the centre.
Sound
While it may be true that the sound system may need some upgrading, it’s not that easy to just pick up a few speaker boxes stored in some room and put them in the cultural centre. A few short years ago, when Ms Gail Teixeira was minister, we installed one of the most modern theatrical sound systems in the Caribbean at the NCC. One will agree that time and age will become a factor when equipment is in continuous use. Part of the problem of deterioration and failure in performance was also caused by performers, and to some extent staff, who in many instances were part of a regimen that saw both damage and pilfering.
The equipment at that time came at a cost of US$75,000 or thereabouts and was installed by Lutrell Sounds Inc of Puerto Rico. I remember watching as the company’s technicians measured every corner of the centre with a scope in order to ensure that you could have heard every word from the stage irrespective of where you sat. We just can’t pick up equipment and place it in the NCC. There must be careful and proper acoustical measurements and balance to achieve good sound.
However, age and usage does show its face when you are dealing with equipment and a facility that is over forty years old, although handling, damage and other factors contributed to its failure and current condition. Persons using the centre should also be aware of the cost of equipment and should be made to account for, and in some instances pay for damage done.
Lighting
The cultural centre like many theatres around the world continues to experience challenges when it comes to lighting equipment. Many theatres in the more advanced world continue to upgrade their systems since technology creates a challenge to keep up, or suffer the consequences of your facility not being rented or used. The cultural centre has suffered in many instances since the cost of procuring upgrades of equipment on a frequent basis is not realistic as the fees charged can’t even touch the cost of an engineer to do an analysis, far less buy new modules for a lighting grid every five years.
My experience has shown that lighting systems are changed at such a rapid pace that you barely get to familiarize yourself with a new console or dimmer rack, and the next thing they are replaced by much more modern and up- to-date ones. I spent several years supporting the cultural centre’s lighting system by receiving damaged modules, and having them fixed and returned to Guyana. However, consistent power outages and the fluctuation in the supply of electricity continuously damaged the equipment. In all fairness to the Ministry of Culture, I am aware of the difficult task of acquiring supplies of lamps and fittings. Each time there was a need to order supplies, the order had to be specially manufactured for the centre either because of non-availability, the items were out of stock, or the ones needed were no longer manufactured.
Editor, we should allow the Ministry of Culture to work on rehabilitating the centre in general.
I am sure if one were to make a comparison with other facilities we will find the rental fees at the cultural centre ridiculous. For example to rent the Walt Whitman Theater at the Brooklyn College costs a minimum of US$10,000 per night. This comes with the basic white light features for general lighting. Each time you ask for an additional lamp or piece of equipment you are charged an additional sum. Therefore we must use balance and consideration in seeking changes, etc. And mind you, this is just a college facility.
Stage
It’s the same with preserving and maintaining a secure environment for persons using the stage in general. In fact, each year thousands of persons (including the President and international officials) take to the stage in some form or another. Each year since 1988 (since I was trained in this area) I have spent a number of days during the month of February (when the NCC is closed for maintenance) along with the stage staff servicing the fly gallery of the stage. This is critical since as the grid advances in age, an effective annual maintenance regimen becomes extremely important, and must be done. Many persons may not be familiar with this, but everything over the stage of the cultural centre is hung from a grid 20 feet in the air. These are supported by a counterweight system which is attached to wire and polyurethane ropes for lowering and raising scenery. A lighting bar for instance has to be balanced by some 40-25 pound weight blocks. This is certainly an area of importance.
My point therefore, Editor, is that while we demand the modernization of equipment and a reduction in fees, we must be aware of the constraints financially to preserve an edifice such as our National Cultural Centre. This is not forgetting the other factors, like roof preservation, among other things, that are of also great concern in relation to the general upkeep of the NCC. We should allow good judgment, theatrical standards and personal ethics to prevail, in order to accomplish the best for all. I hope the spirit of effective use, less damage to equipment and reduced pilfering will help in resolving the issues and concerns of all parties.
Yours faithfully,
Bobby Vieira
Former Stage Manager
NCC
