Assassins: Difference between revisions
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From the very start of the planning period, it was decided to implement a fully networked audio system for this show using the Dante Audio networking protocol. This was possible due to the equipment available in the chandler being Dante enabled. Due to the complexities of the show, it was essential that every member of the sound team had an understanding of what was getting plugged in where and how the power on procedure would be implemented. | From the very start of the planning period, it was decided to implement a fully networked audio system for this show using the Dante Audio networking protocol. This was possible due to the equipment available in the chandler being Dante enabled. Due to the complexities of the show, it was essential that every member of the sound team had an understanding of what was getting plugged in where and how the power on procedure would be implemented. | ||
<pdf>Assassins_-_Network_Diagram.pdf</pdf> | |||
===The Equipment=== | ===The Equipment=== | ||
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===OSC=== | ===OSC=== | ||
Due to the complexity of the Cueing of the sound effects along with Lighting effects. The decision was made between the Sound designer and the DSM to implement an idea which would make it much easier to ensure effects were cued at the same time. We added OSC (Open Sound Control) into the system which was able to solve the issue. Open Sound Control (OSC) is a protocol for networking sound synthesizers, computers, and other multimedia devices for purposes such as musical performance or show control. Having OSC as part of the system allowed us to have flexibility but the DSM to have an enhanced organization of their cuing which assisted the production to be as smooth running as possible. | Due to the complexity of the Cueing of the sound effects along with Lighting effects. The decision was made between the Sound designer and the DSM to implement an idea which would make it much easier to ensure effects were cued at the same time. We added OSC (Open Sound Control) into the system which was able to solve the issue. Open Sound Control (OSC) is a protocol for networking sound synthesizers, computers, and other multimedia devices for purposes such as musical performance or show control. Having OSC as part of the system allowed us to have flexibility but the DSM to have an enhanced organization of their cuing which assisted the production to be as smooth running as possible. The below link directs you to a page which teaches how to use different show control systems | ||
https://paperclip.rcs.ac.uk/index.php/Show_Control_Systems | |||
== Technical Stage Department == | == Technical Stage Department == | ||
For this show, the Technical Stage Department consisted of Cameron Kerr as Stage Supervisor, Ewan Sullivan as Deputy Stage Supervisor and Joseph Liddle and Rory Gilmore as Stage Crew. I started the production process by making the stage plan from the designer on vectorworks. | |||
'''Noose''' | |||
One of the main challenges in the production was to produce a Noose swing (not a functioning one), for a cast member to swing on, hang on and climb around. This had to be dropped in and the height of it changed 3 times throughout the movement piece. This would be easy in a venue that had the capabilities of Automation etc but in the Chandler, we had to use human manual movement. I used thin Dyneema to make a prusick around the thick 26mm rope which made an anchor point of which we could attach to the karabiner on the catwalks. 3 of these prusicks made moving the rope between 3 different deads very simple. | |||
== Stage Management == | == Stage Management == | ||
Latest revision as of 11:58, 29 January 2020
| Assassins | |
|---|---|
| |
| Summary | |
| Dates 23rd - 29th November 2019
| |
| Performance Course Musical Theatre
| |
| Location Chandler
| |
| Creative Team | |
| Director Emily Reutlinger
| |
| Musical Director Sarah de Tute
| |
| Movement Director Jim Manganello
| |
| Designer | |
| Sound Designer | |
| Lighting Designer Benny Goodman
| |
| Assistant Musical Director Jacob Jones
| |
| Voice and Dialect Coach Hilary Jones
| |
| Production Team | |
| Production Manager Kevin Murray
| |
| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Managers | |
| Stage Supervisor | |
| Deputy Stage Supervisor | |
| Stage Technicians | |
| Lighting Programmer and Operator | |
| Production Electrician Ross McCrone
| |
| Lighting Technicians | |
| Production Sound Engineer and AV Designer | |
| Sound 1 | |
| Sound 3 | |
| Lead Propmaker | |
| Propmaker | |
| Scenic Artists | |
| Assistant Scenic Artist | |
Summary
Stephen Sondheim & John Weidman’s theatrical debate about the motivations driving the characters who’ve attempted to assassinate the President of the USA.
Company
The Proprietor - Jack Heydon
The Balladeer - Georgie Buckland
Sarah Jane Moore - Jessica Donnelly
Charles J. Guiteau - Alistair Fitton
Lynette 'Squeaky' Fromme - Bailey Grey
John Hinkley - Robin MacKenzie
John Wilkes Booth - Jonathan O'Neill
Leon Czolgosz - Isaac Savage
Sam Byck - Lydia Stevenson
Giuseppe Zangara - Joy Tannen
Lee Harvey Oswald - Lewis Winter Petrie
Ensemble - MaKenna DeMers
Ensemble - Conor Downey Quinn
Ensemble - Dylan Evans
Ensemble - Michaela Fenech
Ensemble - Julia Murray
Ensemble - Melinda Orengo
Ensemble - Elizabeth Coverdale
Lighting
Sound
The Team
Sound Designer/Sound no.1 - Neal Clark
Production Sound Engineer - Stuart Henderson
Sound No.3 - India Kilbride
Networking
From the very start of the planning period, it was decided to implement a fully networked audio system for this show using the Dante Audio networking protocol. This was possible due to the equipment available in the chandler being Dante enabled. Due to the complexities of the show, it was essential that every member of the sound team had an understanding of what was getting plugged in where and how the power on procedure would be implemented.
The Equipment
For Assassins, we used a Yamaha QL5 digital mixing console with a RIO 32/16 stage box. During the planing stage, we made the decision to use the Shure Axient Rack, which consists of 5 AD4Q receivers, Antenna Distro, and 3 Battery Chargers. The decision to use this equipment was an easy one due to the Shure Axient equipment being Dante enabled which meant we were able to add the equipment into the existing network with ease.
We used the Chandler MacBook Pro to run Qlab 4. This was also added into our network via DVS (Dante Virtual Soundcard).
OSC
Due to the complexity of the Cueing of the sound effects along with Lighting effects. The decision was made between the Sound designer and the DSM to implement an idea which would make it much easier to ensure effects were cued at the same time. We added OSC (Open Sound Control) into the system which was able to solve the issue. Open Sound Control (OSC) is a protocol for networking sound synthesizers, computers, and other multimedia devices for purposes such as musical performance or show control. Having OSC as part of the system allowed us to have flexibility but the DSM to have an enhanced organization of their cuing which assisted the production to be as smooth running as possible. The below link directs you to a page which teaches how to use different show control systems
https://paperclip.rcs.ac.uk/index.php/Show_Control_Systems
Technical Stage Department
For this show, the Technical Stage Department consisted of Cameron Kerr as Stage Supervisor, Ewan Sullivan as Deputy Stage Supervisor and Joseph Liddle and Rory Gilmore as Stage Crew. I started the production process by making the stage plan from the designer on vectorworks.
Noose One of the main challenges in the production was to produce a Noose swing (not a functioning one), for a cast member to swing on, hang on and climb around. This had to be dropped in and the height of it changed 3 times throughout the movement piece. This would be easy in a venue that had the capabilities of Automation etc but in the Chandler, we had to use human manual movement. I used thin Dyneema to make a prusick around the thick 26mm rope which made an anchor point of which we could attach to the karabiner on the catwalks. 3 of these prusicks made moving the rope between 3 different deads very simple.
Stage Management
The stage management department consisted of Stage Manager Fiona Elliott, Deputy Stage Manager Andrew Swarbrigg and Assistant Stage Managers Rhiannon Mitchell and Lea Meloee.
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