Merrily We Roll Along

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DSM - Astrid Rothmeier

Stage Manager - Amy Donaldson

Assistant Stage Manager - Fiona Dalgleish

Assistant Stage Manager - Chris Brown

Lighting Designer - Davy Cunningham

Lighting Operator - Laura Mason

Production Electrician - Paul Froy

Sound 1 - Hannah Allan

Sound 2 - Ryan Davy, Babette Wickham-Riddick

Technical Stage Manager - Rory Boyd

Deputy Technical Stage Manager - Kieran Kenning

Stage Crew - Emma Campbell, Calum Dunbar, Susannah McWhirter, Kirstie Connel, Reece Flynn , Laurie Sutton , Vladimira Dovalova , Ailie Richford


Silver Balloons

The stage management team volunteered to make the silver foil balloons that were hung from the catwalks in the model box. To do this we had to order 'Silver Mylar material' from Amazon that cost approx £40. We cut the required size needed and heat sealed the parameter with a household iron, leaving a small 5mm gap to allow air to flow through when inflating them. (The smaller the gap, the less air will escape when inflating.) Once the balloons are inflated hold the gap closed and quickly heat seal with the iron to create a completely sealed balloon with no air gaps. If you wish to have any text on the balloons it is advised to paint his first before inflating.





Technical Stage Management

There were many interesting technical challenges presented in the design for Merrily. The technical crew consisted of a team of 8 1st years, a TSM, and his depute. As we were over crewed, the 1st years operated split shifts. This meant they were busier during the performances, and also had time off.


One of the main set elements on Merrily was a custom built (by Props) Sputnik Lighting Piece. This was rigged on Triple E track, and tracked diagonally across the venue above the audience. The piece itself was rigged on a scenic carrier, attached using 1.5mm Dyneema line. Following behind the piece, was a large loom. This was zip tied to single carriers, which kept it not drooping. These carriers were tied together using a guide line, which kept them spaced out and folded like a concertina when not used.

It used a pull/pull system from each end, meaning no return lines or pulleys were used. The pull lines were fed through the carriers, again which kept them from drooping.


Another element of the set was a black drape USC. This had a parting in the middle, which was made into a swag for the reveal of some cast members. A diagram of the swag is below. Keychain hooks were sewn into the black, with the tope tied onto them. Smaller keychains were sewn on the way up the black, with the rope fed threw them. This gave the swag a nicer shape. Sandbags were added to the bottom of the rope to give a faster drop when the swag was released.

Swag Drawing.jpg

Lowering Mirror

At the top of the Second Act, the mirror had to be set on its in dead and fly out as opening number went on. With no flying system in place in the Chandler we had to improvise. to achieve the desired affect we had two lines of rope attached to the mirror going up and through 2 sets of pullies leading of stage right. Once we found the desired In dead we double choked a strop around the USR red pillar and placed a delta mallion on the end of the strop and attached. the in dead was then tied off using an Alpine butterfly knot which was then attached to the mallion. For the out dead we used the same knot and had a Carabiner through the loop so that it could be reattached to the in deads million with ease.

Lowering LX bars

There were attached in the exact same way as the mirror, the only difference was the weight was an issue. As a precaution we made it so that there was always two people present for the job, one to attach the carabiner and one to hold the weight