Client: Jack Morton Productions

CREATIVE TREATMENT

I. SETTING

The Grand Ballroom at the Bally Hotel? A typical meeting site. A morning General Session? Also typical. Presentations, speakers, information to convey?

Typical? Maybe. But to us, typical is a limit. And this year, we're producing a show with "No Limits."

When our audience enters the Grand Balroom, what they see is far from typical. The space has been reconfigured, partitioned into a smaller space by floor-to-ceiling opaque black scrim. From hidden speakers we hear a low, rumbling sound; at various points around this enclosure we've positioned Sony Trinitron monitors, each of which displays a video which is being played as an endless loop.

As our audience walks around the scrim, they see a series of humorous and thought-provoking images. These images contrast past imagesFor instance, they may see black-and-white footage of the first attempts at heavier-than-air flight. A man is seated in an eight-winged airplane, pushes off the edge of a cliff and crashes. At the end of this clip we see a stark graphic:

"CHANGE? YES!"

The next sequence shows footage of Blue Angels jets, roaring off across the sky. At the end of this clip, we see a new graphic:

"LIMITS? NO!"

An old Model T Ford rolls crazily down a hill; all four wheels comes rolling off, the car flops into a dusty heap.

"CHANGE? YES!"

A Formula One racing car, whipping around a curve at a Grand Prix event.

"LIMITS? NO!"

Dr. Frankenstein works feverishly on Boris Karloff's monster. Huge arcs of electricity spark across gaps. Igor hops from foot to foot, rubbing his hands together.

"CHANGE? YES!"

Fresh footage, doctors in a modern medical facility using state-of-the-art Sony diagnostic equipment in a setting that is at once serious and reassuring.

"LIMITS? NO!"

The images keep coming, one after another with no narrative track. No matter where one is around our space, the equating of change and no limits is inescapable. The audience wanders around the enclosure, drawn to the monitors, amused and intrigued.

All at once our interior lights come on, and our scrim

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