Inner Space 2020 (Group A+B)
Due to COVID- 19, our year group was split into 4 groups to learn. For Inner Space, we split our year group in two. Groups A + B came together to fit up our show: 'Into The Space' on 8th December and showcased it to select staff and the rest of the class on the 9th December.
We decided to create a fairytale walkthrough experience, having the audience travel through the space while the technical elements told the stories of Red Riding Hood, Hansel and Gretel and Jack and the Beanstalk.
Production Manager: Reegan Graham
Production Manager/DSM: Caitlin Riddell
Technical Manager: Ewan Fraser
Technical Manager: Leo Wittwer
Design Management: Pippa Reilly
The management team consisted of three distinct roles; Production Management, Technical Management and Design Management. Production Management was in charge of scheduling, completion of risk assessments, liaison with staff, running and co-ordinating the get in/get out and general overseeing of the project. Technical Management was in charge of all technical kit lists, pre-programming, completion of ground plans, all flying activities and any actions being undertaken at height. Design Management acted as a bridge between the Management team and the Design team; taking minutes during design meetings and raising any concerns brought up from designers.
Most of the props were sourced from RCS' Props Store, with a few sourced from the team and a couple makes too.
Red Riding Hood LX Designer: Chloe Chancheong
Red Riding Hood Sound Designer: Fraser Mackie
Hansel and Gretel LX Designer: Viola Fowler
Hansel and Gretel Sound Designer: Maddy Frost
Jack and the Beanstalk LX Designer: Pippa Reilly
Jack and the Beanstalk Sound Designer: Anne Peart
The design team consisted of three separate teams of designers; one for each fairytale. Each group would work in pairs to create content that would generate feedback at design meetings. Decisions from design meetings would then be brought to full team meetings with management who would facilitate and enable these decisions.
With no budget, our team had to work with what we could source from within RCS. As our space was adapted to allow the audience to walk through the space, we decided not to use any set pieces and opted to use a variety of smaller props; both for the sake of ease and to allow for a more minimalistic feel to be included in each space. The seating bank was retracted for our performances. We also laid an extra strip of dance floor in order to create 2 full black-floored rooms and 2 fully wooden-floored rooms rather than having a mix of the two in 2 rooms. Initially we wanted to cover the full space with dance floor however we decided against this in the end as it would've been very time consuming.
We managed to secure 6 4mx4m black cloths that had been de-rigged from the Chandler, a 13.5mx4m cloth from the Ath that acted as the room dividers. We rigged 6 6m LX bars to hang these cloths in a cross formation. The AGOS has black tabs on a track that go most of the way round the performance venue, so made use of these as well as rigging extra cloths (sourced from the Gods in the New Athenaeum Theatre using bobbins from Venues) onto the tab track to create a complete blackout in the space.
|6 Black Legs 4m x 4m||Rope||2 Community SLS920 Tops||4 Fall Prevention Petzl Grillon|
|1 Black Border 13.5m x 4m||Fishing Line (bouquet)||Crest Audio Amps||4 Fall Prevention Harnesses|
|60 bobbins||Karabiner (bouquet)||4 Wire Rope Drifts1m/4mm|
Health And Safety
Before the show began, 2 crew members carried out a shout check. Other crew members would ensure that every prop had been wiped down before the house was opened.
Signs were placed FOH warning the audience that both haze and flashing lights were included in the performance.
When the house opened, Reegan delivered a health and safety brief to the audience in the form of a poem. Due to COVID-19 restrictions, extra safety measures were implemented such as wearing a mask at all times, using hand sanitiser on entering the room, etc.
The show had 1 flown aspect to it: a bouquet of flowers. This was used in the Red Riding Hood room and enabled the show to have an element of interaction. The audience would watch the bouquet be flown in, and then prompted to unclip the karabiner from the bouquet and place them in a basket. The easiest way to do this was tie off the line on a dead so the the line couldn't get away from the flyman.
We decided to use soundscapes to build on the element of immersion. Soundscapes were designed through a variety of means ranging from QLab to Audacity. In the end, any that were edited on a DAW would need to be edited in QLab in order to split the track into the required cues. The show would be run from QLab.
We also included narration throughout the performance. These were edited into each soundscape. Voices were lended from a range of people; Maddy voicing Red in Red Riding Hood, James Crutcher from the BA Acting course voicing the bubbly narrator and an external acting student voicing the Wolf in Red Riding Hood.
The AGOS has its own comms box with 4 headsets and 1 spare. We also managed to get access to 4 wireless radios with earpieces in order to create another "ring" of comms between the crew.
Radio users (Get In): Ewan, Leo, Reegan, Caitlin
Radio users (Performances): Ewan, Reegan, Control Room, Backstage
Comms users (Performances): Caitlin, Viola, Chloe
Every fixture used in the performance came from the AGOS stock. We also had access to the Chandler stock if need be. Each fairytale designed their room and liaised with Ewan who then sourced and organised all the kit. The full kit list can be seen here:
Haze was used in Red Riding Hood. The hazer was risk assessed by the PM and deemed safe for use. There was always at least 1 person with the hazer when it was in use.