PLEASE allow me to add my few pennies as we follow the comments and charges as they relates to the National Cultural Centre(NCC) in general. While I will not condemn nor 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 and sincere requirements that are not 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 comes 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 the effective running of the operations of the centre. To make my statements brief as promised, let me address some of the sentiments being expressed without a broader look at the global picture.

SOUND SYSTEM
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, under the ministerial leadership of Ms Gail Teixeira, we installed one of the most modern theatrical sound systems in the Caribbean, at the National Cultural Centre. One will agree that time and age will become factors when equipment goes through a phase of continuous use. Part of the problem of deterioration and failure in performance was also posed by performers, and to some extent staff, who in many instances were part of a regiment that saw both damage and pilfering.
The equipment at that time came at a cost of US$75,000 or thereabout (can’t remember the exact figure) and was intricately installed by Lutrell Sounds Inc. of Puerto Rico. I remember watching as the company’s technicians measured every corner of the cultural centre with a scope in order to ensure that you could have heard every word from the stage irrespective of where you sat.
However, age and usage do show their faces when you are dealing with equipment and a facility that is over 40 years old. However, handling and damage and other factors contributed to the failure and current condition of this necessary department. This piece of my argument is to show that we just can’t pick up equipment and place it in the centre. There must be careful and proper acoustical measurements and balance to establish good sounds. Persons using the centre should also be aware of the costs of equipment and should be made to account for, and in some instances pay for damage made or created.

LIGHTING
The cultural centre like so many theatres around the world continues to suffer the same fate when it comes to lighting equipment. Fortunately for theatres in the more advanced world, many of them continue to upgrade their systems since technology creates a challenge for you to be advanced 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 a reality 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 of 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 having to receive damaged modules, have them fixed and returned to Guyana. However, consistent power outages and fluctuation in the supply of electricity continuously damaged the equipment. In all fairness to the Ministry of Culture, I am aware of the difficult tasks in acquiring lighting supplies of lamps and fittings. Each time there was a need to order supplies, the order had to be specially manufactured for the centre because of non-availability, or because items needed were no longer manufactured.
In closing editor, we must and should allow the Ministry of Culture to work on rehabilitating the centre in general. In finding out the fees being charged, I am sure if one were to make a comparison with other facilities such as the cultural centre, we will find the rental fees 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 additional lamps 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) peruse the stage in some form or another. Each year since 1988 (since I was trained in this area) I spend a number of days during the month of February (when the centre 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, but everything over the stage of the cultural centre is being hung from a grid 20 feet in the air. These are supported by a counter-weight 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. Certainly an area of significant importance.
My point therefore editor, is that while we demand the modernization of equipment and changes or reduction in fees, we must be aware of the financial constraints to preserving an edifice such as our National Cultural Centre. Notwithstanding the other facets of roof preservation and other factors that are of also great concern to the general upkeep of the centre, 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.

BOBBY VIEIRA
Former Stage Manager, NCC