However if it is not the stage boards drumming as such [that's another matter], hession works or even covering it in unbleached calico[note; no mention of muslin!] giving the boards a 'gesso' surface. All that glues it to the surface is the plastic [latex] paint, although with the unbleached calico you need to tack down the edges [epoxy glue glue the overlap seams first] because it will shrink when water is applied & become weave very tight.

Also when you paint it black, add some PVA [white wood glue] to the paint, it only has to be a small amount, this takes a bit of experimenting with quantity. The white glue, which sets clear, will give a hard wearing surface & protect the paint. Also when you buy the paint get them to mix in a shot of Cobalt Blue tint / litre of black. Nearly all black paint will become a washed out browny colour when worn. The cobalt blue helps to give it that rich blue tint on ware marks & retain the darker colour longer.

Further when painting just use a cheap 'squeezy' mop, instead of paint rollers. The kitchen mop head sponges are cheap to replace & you don't get paint spray flicking up from the rollers. You also save slightly on paint as you can squeeze out the excess paint. The operation is quicker & less messy! 

 

 

 

That's about all I can remember them being called MARLEYS.....but I am just not sure - it's been 20 years ago now.  Good luck

 

TonyDi

 

 Known useualy by thier brand name such as Marley, harlequin or Tarquette.

Originaly they were first produced by the 'Congolium Company. They are vynil that comes in about 6' wide rolls - bleeding heavy if you have not got one of these;- 

http://www.harlequinfloors.com/americanenglish/productdetail.asp?section=64&page=246&prodid=94 - http://www.harlequinfloors.com/americanenglish/productdetail.asp?section=64&page=246&prodid=94

{you will need plenty of gold bricks in the bank - flamin exspencive!}

 

It is a bit of a palva to set up, but once you have done it a few times, it becomes easy to do.

Roll out the vynil across the stage, starting at the downstage apron. [you pre cut lengths to the width of the stage]. Laying the strips out flat &  edge to edge. Once you have all the deck covered, pull out a strip of Gaffer tape, the same width as the dance mat edge jionts. Lay the gaffer on the mat, sticky side up. Slightly roll one edge of the vynil strip & carefully place the gaffer under the rolled edge. So when it is rolled back the gaffer sticks to the under side. Then roll back the other edge allowing the gaffer exsposed to rest on the deck. Then again lower the rolled edge on to the sticky & against the adjacent vynil strip eddge. All it takes now is to either shuffle walk along the jiont, run a roller over or push a fly counterweight [bickie] along the jiont seams. Then you have undertaped a dancer floor mat! It does not take that long with a bit of practice.

Rolling it back up is easy of course, by just lifting a strips end edgdege & re rolling it, Use a piece of board to stop the other strip lifting, as it could tear the vynil edge. Just untill there enough weight in the rolling vynil for the adheasive to come away easily. Then roll the next strip in the same manner, laying a counterweight bickie on the gaffer tape end, so it will remain on the deck & can either be rolled up for reuse or chucked in the rubbish bin.

As Toni suggests this wull most certainly quite down the clodhoppers on the rostra boards &or reduce any drumming.

I doubt Gafpres if insulation foam will reduce the drumming effect on rostra open viod space.

The only thing to ensure it is not caused by chatering loose plates [top boards] & inadiquate cross suports on the frame &/or loose jionts?

 

{Also you have to be very cafefull using the vynil, as it damages easily & won't take stilletoe high heals  & ensure the stage is flat & nail head or tack free.}

 

 

Tarquette is the main one here.

Yeh you do have to be careful especialy on out door venues, with the UV & heat of the sun, which will deplastisize the vynil & leach out the colour.

Also when rolling it up because it is soft it can warp & get out of shape.

If you use plastic PVC pipe as the inside roller, when lifting the dance mat.

This helps with the removal of the gaffer tape, if you have some one stand on the end of the tape or stick it down to the dack with a weight on it.

Ensuring the mat is rolled straight, checking constantly if the edges are aligned on the roll.

Also if you don't have a meat rack, store the rolls standing on thier ends. Not laying on thier sides as they will flatten out on one side, under thier own wait, & you will have a hell of a drama when you use them again.

One trick if you have a Fly system or can lower your light battens to nearer the deck. Is to strike up the lighting rig & heat the dance matt to flatten it out.

Also with tarquette if you mop it with a solution of turpintine & water, it will tend to resurface the dance matt & bring it back to an almost new finish. 

In the more modern theatres, as Charle posted, Masonite is sheeting is used, because it is cheaper than ply & the standard sheets are easily replaced.

I have know idea what Celetex is, but it sounds a great idea to cut down on the drumming effect of the stage cheating boards.

In our theatre which was a community hall & has just been refurbished into a sort of performing arts centre venue? Had polished Jarrah floor boards which we covered with MDF sheets under taped with gaffer, so we could paint it. Was supposed to clad in Masonite during the refurbishment, but have ended polished boards instead.

There is no drumming effect because of the thickness & density of the Jarrah, but still not a suitable surface for theatre.

So I had a word with the Builders & got them to put aside for us, a heap of used MDF sheeting they were going to dump. So it will be no cost to us to re-clad the stage again.

  

Charlie