Ballet Showcase 2013: Difference between revisions
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|'''Lighting Designer''' | |'''Lighting Designer''' | ||
|[ | |[http://www.adammccall.co.uk Adam McCall] | ||
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|'''Stage Manager''' | |'''Stage Manager''' | ||
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The Second Modern Ballet Showcase in The royal Conservatoire consisted of 6 short Pieces: Monad, Esquisses, Naomi's solo piece, Napoli, Georgia's Solo piece and The Reel | The Second Modern Ballet Showcase in The royal Conservatoire consisted of 6 short Pieces: Monad, Rite Of spring, Esquisses, Naomi's solo piece, Napoli, Georgia's Solo piece and The Reel | ||
== Ground Plan == | |||
[[File:Ballet_gp.jpg]] | |||
== Fly Plot == | |||
<pdf>Ballet_flyplot_jb.pdf</pdf> | |||
== Fly Cue Sheet == | |||
<pdf>Ballet_Fly_Cue.pdf</pdf> | |||
== The Masking == | == The Masking == | ||
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The Cloth was also given to use by Scottish Ballet. This was hung on bar 24 in between the BP Screen and full black. This was to fly in for the final performance, The Reel. | The Cloth was also given to use by Scottish Ballet. This was hung on bar 24 in between the BP Screen and full black. This was to fly in for the final performance, The Reel. | ||
Watering | Watering | ||
As the cloth had not been used for quite some time we knew we may have to give it some attention. We hung long before any rehearsals in order to give it time to settle on the bar and let heat iron out some of the creases. We then each night before finishing sprayed with water and again left to settle over night. This was allowing it to settle a little better. | As the cloth had not been used for quite some time we knew we may have to give it some attention. We hung long before any rehearsals in order to give it time to settle on the bar and let heat iron out some of the creases. We then each night before finishing sprayed with water and again left to settle over night. This was allowing it to settle a little better. | ||
Stretching | Stretching | ||
We then knew we had to stretch it and after some discussion, we decided that dropping in tension wires form the grid was the best solution. The tension wires were dropped in and shackled onto a ring plate securely fastened to the stage floor directly under the hanging point. The other end of tension wire was then ratcheted off on the grid creating the tension. | We then knew we had to stretch it and after some discussion, we decided that dropping in tension wires form the grid was the best solution. The tension wires were dropped in and shackled onto a ring plate securely fastened to the stage floor directly under the hanging point. The other end of tension wire was then ratcheted off on the grid creating the tension. | ||
We then made up pieces of cord with a shackle at one and and stretcher on the other. The Stretcher gripped on to the cloth and the shackled onto the tension wire, which sat 1m away from the cloth, in the wing. These were even place up the cloth allowing to be stretched on five points in each side. The shackle would run up the down the tension wire allowing the cloth to be easily flown in and out. | We then made up pieces of cord with a shackle at one and and stretcher on the other. The Stretcher gripped on to the cloth and the shackled onto the tension wire, which sat 1m away from the cloth, in the wing. These were even place up the cloth allowing to be stretched on five points in each side. The shackle would run up the down the tension wire allowing the cloth to be easily flown in and out. | ||
== LX Side Booms == | |||
The Lx Booms were made up of 6 metre length scaff bars from stock. 8 of the tank traps from stock and t piece Kee Clamps also in stock. | |||
A spot line was dropped in from the grid directly above the position, through a pulley and then cleated off on each fly floor. | |||
Once the Boom was was fixed together, 1 crew on fly flor pulley up on spot line and 3 crew on stage taking the weight and guiding up on stage. | |||
As per our Risk assessment showing that when using a fixed Kee clamp [[ManufactuersGuidelines]] state " At loads greater than 770kg consideration must be given to grub screw slippage" | |||
Manufactures guidelines then state "Recommended set screw torque is 39Nm" | |||
For this we purchased a torque spanner which is now available in stock tools. | |||
== The Floor == | == The Floor == | ||
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*'''Stage Manager''' - [[ | *'''Stage Manager''' - [[Marian Sharkey]] | ||
*'''Deputy Stage Manager''' - [[Rosie Barber]] | *'''Deputy Stage Manager''' - [[Rosie Barber]] | ||
| Line 99: | Line 123: | ||
*'''Chief Production Electrician''' - [[Ben Terry]] | *'''Chief Production Electrician''' - [[Ben Terry]] | ||
*'''Deputy Production Electrician''' - [[Stuart Lord]] | *'''Deputy Production Electrician''' - [[Stuart Lord]] | ||
*'''Lighting Operator and Programmer''' - [[Rebecca | *'''Lighting Operator and Programmer''' - [[Rebecca Coull]] | ||
*'''Sound Designer | *'''Sound Designer''' - [[Greame Brown]] | ||
== Other == | == Other == | ||
Latest revision as of 19:56, 25 June 2013
Modern Ballet Showcase 2013
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The Second Modern Ballet Showcase in The royal Conservatoire consisted of 6 short Pieces: Monad, Rite Of spring, Esquisses, Naomi's solo piece, Napoli, Georgia's Solo piece and The Reel
Ground Plan
Fly Plot
Fly Cue Sheet
The Masking
We used the New Athenaeum house Border and Tabs. The border on the winch bar and tabs on Flybar 1. Tabs would fly in and out between performances.
We had 3 borders on Bars 9,15 and 23.
We then masked the wings using dog legs. We dropped in spot lines from the grid using header blocks in the grid. We had 3 pick up points in the grid that would then cleat off on the each fly floor. Once each spot line was tied off to the dog leg bar would could raise to a suitable height in order to tie the 4x12m legs onto. Once tied on we had two crew on the fly floor raising up and one crew on Stage spotting. Legs are raised until you have enough cloth on stage to place a fly weight on. The legs were then neatly fixed to stage using a baton and fly weights to keep it stretched. We also found that by using a stretcher on back corner of each leg and tying it off to the counterweight cage and wall on p/s side wing, this also helped with straightening out the creases.
Scottish Ballet Cloth
The Cloth was also given to use by Scottish Ballet. This was hung on bar 24 in between the BP Screen and full black. This was to fly in for the final performance, The Reel.
Watering
As the cloth had not been used for quite some time we knew we may have to give it some attention. We hung long before any rehearsals in order to give it time to settle on the bar and let heat iron out some of the creases. We then each night before finishing sprayed with water and again left to settle over night. This was allowing it to settle a little better.
Stretching
We then knew we had to stretch it and after some discussion, we decided that dropping in tension wires form the grid was the best solution. The tension wires were dropped in and shackled onto a ring plate securely fastened to the stage floor directly under the hanging point. The other end of tension wire was then ratcheted off on the grid creating the tension. We then made up pieces of cord with a shackle at one and and stretcher on the other. The Stretcher gripped on to the cloth and the shackled onto the tension wire, which sat 1m away from the cloth, in the wing. These were even place up the cloth allowing to be stretched on five points in each side. The shackle would run up the down the tension wire allowing the cloth to be easily flown in and out.
LX Side Booms
The Lx Booms were made up of 6 metre length scaff bars from stock. 8 of the tank traps from stock and t piece Kee Clamps also in stock. A spot line was dropped in from the grid directly above the position, through a pulley and then cleated off on each fly floor. Once the Boom was was fixed together, 1 crew on fly flor pulley up on spot line and 3 crew on stage taking the weight and guiding up on stage.
As per our Risk assessment showing that when using a fixed Kee clamp ManufactuersGuidelines state " At loads greater than 770kg consideration must be given to grub screw slippage" Manufactures guidelines then state "Recommended set screw torque is 39Nm" For this we purchased a torque spanner which is now available in stock tools.
The Floor
As Done In Ballet 2012
The ballet floor has been borrowed from Scottish Ballet. It has been made up of four pieces of Harlaquin Cascade dance floor 12 metres by 2 metres laid lengthways across the stage. Then two pieces of Rosco dance floor along the sides to increase the overall width. Tim Plamer, the production manager for Scottish Ballet sent detail instructions of how to lay the floor which is now in the URE Book Laying Balletfloor.
The Screen
As Per Ballet 2012
A brand new back projection screen was ordered for the show. It measures 14x7m, it has eyelets at the top (the centre one is marked with a sharpie mark and a piece of white LX tape) and is double folded at the sides. It's pocket at the bottom is large enough for a piece of scaff and when weighted down with scaff and left floating very slightly it does not need stretching. The fasterners for the top of the screen are made by Gerriets and are called G-Quick. There are 69 of them and one marked centre.
The screen is very prone to damage so care must be taken when putting it up and taking it down. Instructions for taking it down and folding it can be found here; Folding the BP screen. It should also be insured lighting is a suitable distance away from the screen.
Production Team
- Production Manager - Sandy McRobbie (staff)
- Stage Manager - Marian Sharkey
- Deputy Stage Manager - Rosie Barber
- Technical Stage Manager - John Beggan
- Chief Production Electrician - Ben Terry
- Deputy Production Electrician - Stuart Lord
- Lighting Operator and Programmer - Rebecca Coull
- Sound Designer - Greame Brown