Magic Flute 2012: Difference between revisions
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[[Category:Opera]] | [[Category:Opera]] | ||
[[Category:New Athenaeum]] | [[Category:New Athenaeum]] | ||
[[Image:Magic Flute Overture.jpg|195px]][[Image:Magic Flute.jpg|200px]][[Image:Magic Flute Point.jpg|200px]][[Image:Magic Flute Pink Wall.jpg|204px]][[Image:Magic Flute Finale.jpg|208px]] | |||
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|[[Directors (stage/film)#William Relton|William Relton]] | |[[Directors (stage/film)#William Relton|William Relton]] | ||
|- | |- | ||
|''' | |'''Conducted by''' | ||
|[[ | |[[Timothy Dean]] | ||
|- | |- | ||
|'''Set Designer''' | |'''Set Designer''' | ||
|Cordelia Chisholm | |[[Cordelia Chisholm]] | ||
|- | |- | ||
|'''Lighting Designer''' | |'''Lighting Designer''' | ||
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Production Manager - Lynfryn MacKenzie | Production Manager - Lynfryn MacKenzie | ||
Assistant Production Manager - [[James Gow]] | |||
Stage Manager - [[Dougal Gudim]] | Stage Manager - [[Dougal Gudim]] | ||
Deputy Stage Manager - [[Marian Sharkey ]] | Deputy Stage Manager - [[Marian Sharkey]] | ||
Assistant Stage Managers - [[Elleanor Taylor]], [[Jane Paterson]] | Assistant Stage Managers - [[Elleanor Taylor]], [[Jane Paterson]] | ||
Set Designer - [[Cordelia Chisholm]] | Set Designer - [[Cordelia Chisholm]] | ||
Lighting Designer - [[Alexander Ridgers]] | |||
Sound Designer - [[Blair Omond]] | |||
Technical Stage Manager - [[Fiona Nisbet]] | |||
Deputy TSM - [[Rebecca Coull]] | |||
Head Flys - [[Melissa MacDonald]] | |||
Production Electricians - [[Fraser Walker]], [[Christopher McIntyre]] | |||
Electrics Crew - [[Oliver Gorman]] | |||
Lighting Operator - [[Sam Cunningham]] | Lighting Operator - [[Sam Cunningham]] | ||
Sound Operator - [[Blair Omond]] | |||
Technical Crew - [[Ben Terry]], [[Andrew McCabe]] | |||
Technical Crew - [[Ben Terry]], [[Andrew McCabe]], [[Jennifer Howes]], [[Ashley Kerray]] | |||
==Set== | ==Set== | ||
===Stage Rake=== | ===Stage Rake=== | ||
The middle section of the floor was a rake at an angle of 6degrees, made out of steel deck and scaff legs. Four sections (4x4) of the rake had to be made out of wood, so that traps could be placed in the rake. | |||
===Iris'=== | ===Iris'=== | ||
===Doors=== | ===Doors=== | ||
A major part of the set, are 8 doors, which were flown in quite a few different scenes, sometimes moving throughout. In act one, some needed moved together, and in act two they all had to move independently, which required a few bar changes at the interval. | |||
===Trap Doors=== | |||
Originally the trap doors were going to open upwards, for safety reasons. But after risk assessing the traps were built to open downwards like the designer imagined. There were 8 traps cut into the rake and one operator was needed for each pair. In act one teddy bears came out through the holes, and in act two it was baby dolls. | |||
To make the traps safe for performers to be on the rake, each trap has a flat bolt flat that slides under each opening, to unsure that they didn't open in a different scene. | |||
===Falling Pigeon=== | |||
During the first Act, a dead bird was to fall from the grid. To do this, I used the same kabuki method as [[Aladdin Panto 2011]], but made it far shorter so that only two pins were needed, and asked the props department to add some loops onto the pigeon. | |||
===Nooses'=== | |||
In Act 2 five nooses were to drop from the grid as quickly as possible. To do this, the nooses were made from hemp so that a single point could be run from the fly floor through a header block on the grid and then straight down to the stage where the noose would then be tied into it. | |||
There was always a worry that the noose wouldn't be enough weight for the line to run quickly on it's own, so 6m above the knot, a few key clamps were shackled onto an alpine butterfly to add extra weight, and make sure it ran in like it was being dropped. | |||
==Props== | |||
[[The making of the Magic Xylophone]] | |||
==Technical Challenges== | ==Technical Challenges== | ||
Latest revision as of 19:35, 18 June 2012
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Magic Flute
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Crew
Production Manager - Lynfryn MacKenzie
Assistant Production Manager - James Gow
Stage Manager - Dougal Gudim
Deputy Stage Manager - Marian Sharkey
Assistant Stage Managers - Elleanor Taylor, Jane Paterson
Set Designer - Cordelia Chisholm
Lighting Designer - Alexander Ridgers
Sound Designer - Blair Omond
Technical Stage Manager - Fiona Nisbet
Deputy TSM - Rebecca Coull
Head Flys - Melissa MacDonald
Production Electricians - Fraser Walker, Christopher McIntyre
Electrics Crew - Oliver Gorman
Lighting Operator - Sam Cunningham
Sound Operator - Blair Omond
Technical Crew - Ben Terry, Andrew McCabe, Jennifer Howes, Ashley Kerray
Set
Stage Rake
The middle section of the floor was a rake at an angle of 6degrees, made out of steel deck and scaff legs. Four sections (4x4) of the rake had to be made out of wood, so that traps could be placed in the rake.
Iris'
Doors
A major part of the set, are 8 doors, which were flown in quite a few different scenes, sometimes moving throughout. In act one, some needed moved together, and in act two they all had to move independently, which required a few bar changes at the interval.
Trap Doors
Originally the trap doors were going to open upwards, for safety reasons. But after risk assessing the traps were built to open downwards like the designer imagined. There were 8 traps cut into the rake and one operator was needed for each pair. In act one teddy bears came out through the holes, and in act two it was baby dolls.
To make the traps safe for performers to be on the rake, each trap has a flat bolt flat that slides under each opening, to unsure that they didn't open in a different scene.
Falling Pigeon
During the first Act, a dead bird was to fall from the grid. To do this, I used the same kabuki method as Aladdin Panto 2011, but made it far shorter so that only two pins were needed, and asked the props department to add some loops onto the pigeon.
Nooses'
In Act 2 five nooses were to drop from the grid as quickly as possible. To do this, the nooses were made from hemp so that a single point could be run from the fly floor through a header block on the grid and then straight down to the stage where the noose would then be tied into it.
There was always a worry that the noose wouldn't be enough weight for the line to run quickly on it's own, so 6m above the knot, a few key clamps were shackled onto an alpine butterfly to add extra weight, and make sure it ran in like it was being dropped.
Props
The making of the Magic Xylophone