Cabaret - The Musical: Difference between revisions

From paperclip
← Older edit
VisualWikitext
Rboyd (talk | contribs)
232 edits
 
(14 intermediate revisions by 3 users not shown)
Line 36: Line 36:
|'''Depute Technical Stage Manager'''
|'''Depute Technical Stage Manager'''
|[[Ryan Greenfield]]
|[[Ryan Greenfield]]
|-
|'''Stage Crew'''
|[[Yesha Subotincic West]]
|[[Heather McKennan]]
|[[Steven Selby]]
|-
|-
|'''Chief Production Electrician'''
|'''Chief Production Electrician'''
Line 42: Line 47:
|'''Lighting Programmer and Operator'''
|'''Lighting Programmer and Operator'''
|[[Neil Smith]]
|[[Neil Smith]]
|-
|'''Lighting Crew'''
|[[Emma Campbell]]
|[[Rebecca Bell]]
|[[Susannah McWhirter]]
|-
|-
|'''Sound Number 1'''
|'''Sound Number 1'''
|[[Sean Quinn]]
|[[Sean Quinn]]
|-
|'''Sound 2'''
|[[Calum Dunbar]]
|[[Reece Flynn]]


|-
! style="background-color:#990000 [[Media:Example.ogg]] ; font-size: 120%;" align="center" colspan="2"| <span style="color: #C71585;">'''Stats'''
|-
|-
|'''Venue'''
|'''Venue'''
Line 146: Line 158:
===Kabuki===
===Kabuki===


A main part of the design was six large glittery portals that also lit up. These had been used twice before for previous shows in outside venues and were not in great condition. We had to do quite a lot of work to them during the fit up to make them look straight.
There were three [[Kabuki Drop]] in the show. The main one was located on Bar 1, and acted as house tabs. The designer requested that Silks were used, however due to budget constraints Polylining was bought instead. I specified that it was to be eyed every 1m, and also have led shot weights located along the bottom of the cloths.  
 
[[Cabaret_Kabuki.jpg]]
 
===Floor===
 
The floor also had been recycled from previous shows. It consisted of simple MDF sheets which we painted black. It was then coated in 3 layers of high gloss glaze to give a very deep black mirrored effect. It was really important that we kept the floor clean and shiny.  
 
'''Floor Care'''
 
To keep the floor clean and shiny I bought some simple bath towels from Primark and we used these to wash the stage. To do this, simply wet the towel with hot water, wrap it round a brush and push it in straight lines across the stage. Once done, rinse the towel and leave it to dry. This is a highly effective and very quick way to clean the floor and it also does not leave big water marks like traditional mops tend to do! We had to mop the stage at least once a day during tech work periods and then once before the show and again at the interval. I would highly recommend using towels to mop any stage.  


'''NOTE''' - You will also want to sweep/vacuum the stage before using wet towels to get the best results.
As the drop was large, and also show critical, I sourced a electrokabuki unit. These are incredibly expensive to hire from our local hire companies, so I instead asked around the local Glasgow based theatre companies. Both Scottish Ballet & Opera have one, and we got ours from the latter. They were happy to let us borrow it, however requested that we insured it while it was with us. The unit consisted of 12 single droppers, 6 A units & 6 B Units.  


===Platform===
This system worked flawlessly, and had no issues. Incase of a drop failure, the flyman was prepared to grid the bar to loose the cloth.


The platform was the main constructed design element of the show. Originally it tracked on and off stage and had two levels; one just above the stage and one 3000mm high. This design was cut back due to budget restraints and the volume of time and work that it would of taken to construct such a high cantelevered steel structure. Another challenge would of been trucking the huge sections on and off of the stage. It would of taken approximately 6 crew to get each one moving and this was just impossible!
There were 2 people located either side of the stage (4 in total) who pulled the cloth into the wings as quickly as possible to strike it.  
The new design consisted of no lower level and still the 3000mm high deck, none of which trucked, it was in a fixed position and other set elements trucked round it.  


The basic construction was 3 sections of 8x4 steel deck, 2 sections of 4x4 steel deck and 2 sections of 2x4 steel deck, custom built access treads and alliminium scaffolding bars to act as the legs and bracing. The outline of the platform is shown in the PDF below. '''Note''' - Not all of the cross bracing and horisontal bracing is shown in the ISO.
An issue to note is that due to air pressure changes between FOH and Backstage, the cloth will bow and curve unto 2m US or DS. It may be worth noting to the LD not to put LX on the FOH pros bars, as during the drop it may catch...


<pdf>Platform.pdf</pdf>
<pdf>Kabuki2.pdf</pdf>


Along with the main kabuki, there were also 2 nazi banners located above the audience FOH.
These proved to be challenging, however worked flawlessly for every performance.


'''Challenge 1'''
Due to the nature of the Ath, we could not use motors or truss for where they wanted the drops. Instead we used hemp and scaff, with some snatch blocks.


 
We cut the ties of the banners, and installed 3 eyelets in each at the top. We then built a standard pin drop kabuki, and tested it.
===Masking===


*16x5 Black Border (bar 27)
Once that worked, we added a second roll drop. The concept being: Drop 1 would be a roll drop, and would unfurl the banners over the audience. Drop 2 would occur at interval, and would release the banners to be lowered on a single line to the stage.
*16x5 Black Border (bar 17)
*16x5 Black Border (bar 11)
*4x12 Black Leg (DSR Entrance running DS->US)
*4x12 Black Leg (DSL Entrance running DS->US)
*4x12 Black Leg (MSR Entrance running DS->US)
*4x12 Black Leg (MSL Entrance running DS->US)
*2400x6000 Hard Masker on the off stage edge of all portals. (6 in total)
*1400x6000 Hard Masker on the on stage edge of MS portals to mask platform "towers".


===Scene Changes===
At interval, the TSM, DTSM & a member of crew would go FOH and kindly ask the audience to leave the front seats. This was just incase when the banners lowered, they flew slightly into them. Once done, the TSM would go on cans and cue the second drop to the operators. Once the 2nd drop was complete, the operator would then lower the kabuki cloths to stage level, where they were folded by the floor crew then taken backstage.


All of the scene changes in Legally Blonde were very quick.
As they cloths were heavy, the bar tended to sway when launching the kabukis. Therefore, tension wires were installed to keep the bar steady. The units have a loud thud when firing, which added to the effect.  


<pdf>SceneChanges.pdf</pdf>
The banners were then laid out in the scene dock flat, so the paint did not crease and peel.  


===General Notes===
For the reset, the hemp bar would be lowered, and the rolled drops attached.


'''Temperature'''- Musical Theatre need the venue to be warm in order to work! Speak to the venue techs in advance to see about putting additional heaters in the wings to keep the cast warm when not on stage.
===Paint Effects===


'''Noise'''- Dance shoes make a lot of noise in the wings and performers don't have time to think about how loud there quick change will be. Try and situate quick change areas away from the stage or in the void to try and mask noise. If appropriate put carpet down in high traffic areas of the wings to help dampen the sound.  
The entire set was painted gloss black, which made it tricky to keep clean. Frequent mopping and shining took place to keep it nice. The paint was hard wearing, however scenic often came in between performances for touch ups. As workshop did a lot of work on stage, the resulting sawdust got everywhere. Regular hoovering proved to be effective, however was impossible to keep away completely.  


'''Tidiness'''- Always leave the venue, room1 and scene dock as tidy as it can be, these big shows move quickly and you don't want to be chasing your tail tidying up when you are pushed for time.
As the entire stage was gloss black, it was often hard to differentiate the differences in height. The designer requested that there were no white lines, however after seeing how difficult it was to safely navigate the stage, white lines were added by scenic.


==LX==
==LX==
===Lighting Plan===
<pdf>FINAL Lighting Plan.pdf</pdf>
===Lighting Booms===
The booms for this show were on 6m length scaff poles. These were then attached to the grid, as well as the base being screwed into the floor.
===Equipment List===
<pdf>Equipment List- LX Legally Blonde.pdf</pdf>
===Gel Call===
<pdf>Gel Call.pdf</pdf>
===Practical's Explained===
<pdf>Practical's.pdf</pdf>
===Running Lists===
<pdf>Legally_Blonde_the_Musical_RUNNING_LIST.pdf</pdf>


==Sound==
==Sound==
[[:File:costings 2.docx]]
[[:File:SYSTEM DESIGN.docx]]
[[:File:CHAN LIST.docx]]
[[:File:pit.docx]]


==Stage Management==
==Stage Management==
===Settings List===
<pdf>settings 15-4.pdf</pdf>
===Props List===
<pdf>Props List 4.3.14.pdf</pdf>
Retrieved from "https://paperclip.rcs.ac.uk/index.php?title=Cabaret_-_The_Musical"