A Christmas Carol: Difference between revisions
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|'''Director''' <div style="text-align: centre;"> Ramesh Meyyappan </div> | |'''Director''' <div style="text-align: centre;"> Ramesh Meyyappan </div> | ||
|- | |- | ||
|'''Sound Designer''' <div style="text-align: centre;"> | |'''Sound Designer & Co-Composer''' <div style="text-align: centre;"> Kevin Murray </div> | ||
|- | |||
|'''Musical Director & Co-Composer''' <div style="text-align: centre;"> Tom Bolam </div> | |||
|- | |||
|'''Assistant Musical Director''' <div style="text-align: centre;"> Emily Paterson </div> | |||
|- | |- | ||
|'''Production Sound Engineer''' <div style="text-align: centre;"> [[Neal Clark]] </div> | |'''Production Sound Engineer''' <div style="text-align: centre;"> [[Neal Clark]] </div> | ||
|- | |- | ||
|'''Sound | |'''Sound Desk Operator''' <div style="text-align: centre;"> [[Cameron Peden]] </div> | ||
|- | |- | ||
|'''Sound No. 2''' <div style="text-align: centre;"> [[Mary-Jane McNally|Mary-Jane "MJ" McNally]] </div> | |'''Sound No. 2''' <div style="text-align: centre;"> [[Mary-Jane McNally|Mary-Jane "MJ" McNally]] </div> | ||
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=Sound= | =Sound= | ||
Three second-year BA Musical Theatre (MT) students performed in this production, utilising their vocal and instrumental talents on the French horn, mandolin, and violin. These performers, along with one BA Performance for Deaf and Hard of Hearing (HoH) actor, were equipped with DPA | Three second-year BA Musical Theatre (MT) students performed in this production, utilising their vocal and instrumental talents on the French horn, mandolin, and violin. These performers, along with one BA Performance for Deaf and Hard of Hearing (HoH) actor, were equipped with [https://dpa.cloud14.structpim.com/media/fzilofem/4061.pdf DPA 4061 Lavalier] microphones attached to radio transmitter packs. This setup ensured high quality audio for their carolling and a live violin performance during the Fezziwig’s Waltz scene. | ||
The mandolin contained an internal contact microphone connected to a radio transmitter secured on its strap. | |||
Floor mics along with a retractable [https://uk.farnell.com/qtx/sg300/shotgun-microphone/dp/3401719 QTX SG300 Shotgun Microphone] were installed in the Stage Right Wings as the MT students use chains to live Foley Jacob Marley’s ghostly chains with each representing the Arms, Legs and Torso respectively. | |||
The intricate sound design, composition and arrangements that helped bring the production to life was crafted by Kevin Murray and Musical Director Tom Bolam. They were supported by Assistant Musical Director Emily Paterson and Sound Desk Operator [[Cameron Peden]]. | |||
Production Sound Engineer (PSE) [[Neal Clark]] oversaw the technical sound operations, ensuring all audio systems were including comms and RF were optimised and functioning at peak performance. Sound No. 2 [[Mary-Jane McNally|Mary-Jane "MJ" McNally]] provided support, assistance with microphone setups, on-the-fly adjustments, and overseeing of the instruments during the show. | |||
The show was designed to be bilingual as a BSL and spoken English production and equally understood by both audiences at all times. [https://www.kv2audio.com/products/ex-series/ex1-5.html KV2 EX1.5 active subwoofers] and a [https://thebuttkicker.com/products/buttkicker-concert-haptic-transducer Concert ButtKicker] behind the clock set piece where installed so the vibrations of impactful audio could be felt and heard. All carols were accompanied by a signed rendition, and all sign is clear and accompanied by strong physical performances to be understood by those who do not understand BSL. There was no spoken dialogue and limited vocalisations and signed dialogue. | |||
There were 13 speakers overall to give the audio depth and direction. | |||
=Photos= | =Photos= | ||
Latest revision as of 16:17, 26 November 2024
| A Christmas Carol | |
|---|---|
 | |
| Summary | |
| Dates 29 November – 6 December 2024
| |
| Performance Course BA Performance for Deaf and Hard of Hearing Actors
| |
| Location | |
| Runtime 1 hour, 20 mins (no interval)
| |
| Creative Team | |
| Director Ramesh Meyyappan
| |
| Sound Designer & Co-Composer Kevin Murray
| |
| Musical Director & Co-Composer Tom Bolam
| |
| Assistant Musical Director Emily Paterson
| |
| Production Sound Engineer | |
| Sound Desk Operator | |
| Sound No. 2 | |
Overview
Immerse yourself in the timeless magic of A Christmas Carol.
Charles Dickens‘ beloved tale is brought to life by students from the BA Performance for Deaf and Hard of Hearing Actors programme in a uniquely visual retelling. An unforgettable journey through Ebenezer Scrooge’s transformative night, filled with wonder, joy, terror, and the true spirit of Christmas.
A piece of visual theatre accessible to both deaf and hearing audiences.
Technical Stage Department
Lighting
Stage Management
Sound
Three second-year BA Musical Theatre (MT) students performed in this production, utilising their vocal and instrumental talents on the French horn, mandolin, and violin. These performers, along with one BA Performance for Deaf and Hard of Hearing (HoH) actor, were equipped with DPA 4061 Lavalier microphones attached to radio transmitter packs. This setup ensured high quality audio for their carolling and a live violin performance during the Fezziwig’s Waltz scene.
The mandolin contained an internal contact microphone connected to a radio transmitter secured on its strap.
Floor mics along with a retractable QTX SG300 Shotgun Microphone were installed in the Stage Right Wings as the MT students use chains to live Foley Jacob Marley’s ghostly chains with each representing the Arms, Legs and Torso respectively.
The intricate sound design, composition and arrangements that helped bring the production to life was crafted by Kevin Murray and Musical Director Tom Bolam. They were supported by Assistant Musical Director Emily Paterson and Sound Desk Operator Cameron Peden.
Production Sound Engineer (PSE) Neal Clark oversaw the technical sound operations, ensuring all audio systems were including comms and RF were optimised and functioning at peak performance. Sound No. 2 Mary-Jane "MJ" McNally provided support, assistance with microphone setups, on-the-fly adjustments, and overseeing of the instruments during the show.
The show was designed to be bilingual as a BSL and spoken English production and equally understood by both audiences at all times. KV2 EX1.5 active subwoofers and a Concert ButtKicker behind the clock set piece where installed so the vibrations of impactful audio could be felt and heard. All carols were accompanied by a signed rendition, and all sign is clear and accompanied by strong physical performances to be understood by those who do not understand BSL. There was no spoken dialogue and limited vocalisations and signed dialogue.
There were 13 speakers overall to give the audio depth and direction.