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1st to 3rd December 2021
Performance Course
Third Year BA Acting
Creative Team
Finn Den Hertog
Sound Designer
Lighting Designer
Davy Cunningham
Assistant Lighting Designer
Production Team
Production Stage Manager
Rehearsal Stage Manager
Deputy Stage Manager
Assistant Stage Manager
Head of Stage
LX Programmer
Production Sound Engineer


Stage Management



Ground Plan

Flown Set




Sound kit

Allen and Heath SQ5 desk with Slink stage box

12 ways of UHFR radio

4 EX6's

2 EV subs and amp

Whole cast on Sennheiser MKE's

One UHFR wireless handheld

One SM58

Personal computer for live show running QLab (with license) etc

Recording laptop for filming and recording

GoCue cue lights and control box

5 NEW sets of wired comms


We used two 'FOH' speakers, two 'foldback' speakers and two subs. Using inverted commas here as all of these traditional terms for the system basically go out of the window in a smaller venue like RS2. Me and the director decided during tech that a lot of the sound should come from the foldback instead of the FOH. The subs also proved pivotal in moments of drama and tension. For example at the end of act 1 when Oedipus gouges his eyes out a very bassy guitar roar played and engulfed the room when dialogue stopped.

During the show there was a handheld mic on a table top stand. Used at moments in partnership with AV when the live camera feed on stage was used (as well at one other point). This was to create an effect of importance to the character and create the idea that what they were saying was being broadcast to Thebans. A small chamber reverb effect was placed upon the mic at all times, this was controlled by effects sends and returns instead of being inserted as to give more control quickly.

During tech I was concerned the higher frequencies were too present in the system so on the main LR mix slightly reduced 16k 12.5k and 10k.

I/O List

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Above image: output and input list


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