Seminole Theatre Homestead: pit, crossover and rigging

Which capacity and technical revision should I use?

Seminole Theatre is at 18 N Krome Avenue, City of Homestead, Miami-Dade County, Florida 33030. The theater portal identifies management by OVG Facilities. The 2015 municipal renovation record places the building on city-owned land; confirm the contracting entity and current project responsibilities.

The current Venue Rentals page advertises up to 400 guests for Main Auditorium and up to 150 for Lobby. The 2017 Auditorium Information & Policies page retains 418 seats and an introduction saying 420. Do not choose the largest figure or add auditorium and lobby to sell tickets.

The older page also mentions positions affected by audio and balcony expansion. Confirm enabled seats, console and camera positions and accessible locations; do not independently subtract or add seats.

How do I size scenery around legs and an asymmetric stage?

Use these 2017 packet dimensions only to prepare plan review. Stage Right and Stage Left are taken from the stage facing the audience; mark that orientation on the stage plot before locating access, instruments or screens.

The 35 ft proscenium is not the 30 ft width with legs. Check each element’s footprint and the passage that actually remains clear. Wings also differ in width: do not automatically mirror a layout from one side to the other.

The packet labels Stage Height as 22 ft without defining the measurement datum in that text. Confirm the drawing and meaning; do not use it as deck height or rigging clearance. The floor is described as Permaflex Floating Floor with Masonite over plywood on a padded frame, with no allowable load stated. Do not derive point loads or anchoring capacity from that construction.

What changes with the pit and lack of a rear crossover?

The 2017 reference describes the pit in front of the stage, with removable black decking and supports allowing another position at orchestra seating level. It also states Cross over: None and dressing-room access via Stage Right. Confirm whether this configuration still applies before designing entrances and scene changes.

Request a plan distinguishing open pit, cover or platform, levels, supports, loads and edge protection. Any decking or support change needs an authorized procedure and personnel; it is not a scenery adjustment. If the state differs from the accepted plan, stop using that area until reviewed.

Prepare an entrance, exit and scenery-movement list with origin, destination, timing and responsible operator. Rehearse circulation with the stage lit and without batten movement. Observe whether scenery, cables or waiting performers obstruct available passage. Do not assume a rear crossover absent from the reference.

If a change cannot pass through the accepted route, review size, sequence or layout with the theater. Restore the last authorized configuration; do not create a passage through the pit or use an emergency exit for storage.

Do the line sets and 200 A allow added LED and hoists?

The 2017 packet describes a single-purchase counterweight system with 13 line sets, including the main curtain. That count does not establish free battens, residual capacity or hoist points. Obtain the current schedule, existing loads on each batten, authorized capacity, geometry and review of the complete installation.

For suspended LED, sound or lighting, submit total weight with accessories and cables, position, point loads, method and structural documentation. Movement, balancing, inspection and removal belong to authorized personnel. Ground-supported LED also requires stability, reactions, ballast, floor protection and circulation review.

Additional power is described in 2017 as 200 A, three-phase, five-wire, Upstage Left, 10 ft offstage. That line states neither voltage nor currently assigned power. Confirm voltage, available capacity, protection, connectors, distribution and authorized electrician; do not calculate kW or select adapters by assuming those details.

For load-in, the same reference identifies 25 W Mowry Drive and a roll-up door 15 ft high by 10 ft wide. Confirm dock, time, vehicle, usable height and width, level changes and internal route. The external opening does not establish that a case or structure can reach the stage.

Which equipment should I prepare, and how do I check the chain?

The table identifies equipment from the 2017 packet, not a guaranteed current inventory. Confirm models, versions, patch, availability and operator before preparing files or connections.

With the operator, check one source at a time toward the agreed FOH, monitor, recording or projection destination. Use voice and an image sample with text and edges; observe audio and image separately from planned audience positions. An audible output does not prove recording receives that signal.

Keep the accepted patch, sample and room file. If a change fails, stop that source and restore the previous state with the operator. Do not alter network, clock, firmware or scene to compensate for a fault before identifying the chain and corresponding model.

Which services and approvals are separate before installation?

The 2017 auditorium page requires a Technical Director for events and additional personnel when using house audio or lighting. Confirm current staffing and scope: a technical lead’s presence does not mean lighting, audio, projection or rigging operators are included.

The form identified as 2023–2024 separates basic lighting from cues and refocusing, and asks about stage manager, stagehands, recording and haze. It states 72 hours for additional media and an HDMI projection connection. Treat these as terms of that version requiring confirmation, without assuming current interfaces or deadlines.

Define venue acceptance, organizer conditions, contract and services, and competent-authority requirements for the intervention separately. Submit effects by model, class, location, laser beam path if applicable and intended operation. A haze question or machine listed in inventory does not authorize use; keep detection active and an effects-free alternative.

Include access, pit, rigging, patch, rehearsals, opening and removal in the schedule. If audience, decking, scenery, loads, power or effects change, update plan and scope before proceeding. Keep the previous revision and agree who restores cover, systems, files and furniture. Do not use older rates or taxes as a current quotation.