Die lustigen Weiber von Windsor: Difference between revisions
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[[Category:Opera]] | [[Category:Opera]] | ||
[[Category:New Athenaeum]] | [[Category:New Athenaeum]] | ||
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! style="background-color: #009900; font-size: 120%;" align="center" colspan="2"| <span style="color: #FFFFFF;">'''{{PAGENAME}}'''</span> | ! style="background-color: #009900; font-size: 120%;" align="center" colspan="2"| <span style="color: #FFFFFF;">'''{{PAGENAME}}'''</span> | ||
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| align="center" | ''Die Lustigen Weiber von Windsor'' | | align="center" | ''Die Lustigen Weiber von Windsor'' | ||
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== Synopsis == | |||
== Production Photographs == | |||
All images Ken Dundas, RCS. | |||
[[File:merrywives2.jpg|400px]] | |||
[[File:merrywives3.jpg|400px]] | |||
[[File:merrywives4.jpg|400px]] | |||
[[File:merrywives5.jpg|400px]] | |||
==Production&Creative Team== | ==Production&Creative Team== | ||
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'''Deputy Stage Manager''' - [[Fiona Findlater]] | '''Deputy Stage Manager''' - [[Fiona Findlater]] | ||
'''Assistant Stage Managers''' - [[Eve Kerr]], [[Ross Jardine]], [[Katy Nicolson]], [[ | '''Assistant Stage Managers''' - [[Eve Kerr]], [[Ross Jardine]], [[Katy Nicolson]], [[Siobhán Scott]] | ||
| Line 68: | Line 82: | ||
'''Electrics Crew -''' [[Kieran Fitzpatrick]], [[Maciej Kopka]] | '''Electrics Crew -''' [[Kieran Fitzpatrick]], [[Maciej Kopka]] | ||
'''Assistant Carpenters - ''' [[Robert Gear]], [[Connor Gallagher]], [[Lauren Keanie]] | |||
'''Assistant Props Makers - ''' [[Zoe Kemp]], [[Clara Fink]], [[Lisa Speirs]] | |||
'''Assistant Scenic Artists -''' [[Carolyn Clark]], [[Iona Gray]] | |||
'''Costume Dept -''' [[Jade McNaughton]], [[Sophie Prior]], [[Carola Gudim]], [[Evonne MacRitchie]] | |||
==Technical Stage Management== | |||
===Technical Challenges === | |||
===Flown Walls=== | |||
One of our main challenges on this opera was fitting in all of the flown elements. To begin with we rigged the flown walls as normal with turnbuckles, drifts ( 7000m) and flying irons- however, the flown walls were very top heavy as each flat had wooden cornicing along the front (weighing 14kg) this caused all of the walls flats to lean both in their IN and OUT positions. | |||
After much debate new Open Ended drifts and wedge sockets were bought. Rather than hanging the flats from back with the irons in the US side, we hung them by drilling holes in the top of the flat and threading the drifts though the flat to the flying irons which were positioned inside the flat. This distributed the weight more evenly and made a significant difference. | |||
===Letter Lines=== | |||
During the Windsor Forest scene, 100 letters were to fly in. For this we used a hemp bar, a CW bar and, as we had run out of space in the grid, we used x2 3000mm pieces of conduit. We joined them and taped over the join to strengthen it with tape- this fitted better than adding another hemp bar. | |||
The letters were attached to the bars with lengths of 1mm braided cord ( available from Flints at £9.00/100m. ) this worked better than fishing line as the letters were simply empty handmade evelopes- the lack of weight would have made the fishing line curl up and look untidy. The cord had a matte quality to it that made it less obvious than fishing line- which could catch the light. | |||
=== Individual Love Letter Lines=== | |||
During Act 2 there were 3 lines which were to be flown in and a love letter attached to each- with not fiddling. At first we attached magnets to the lines and put penny washers in the envelopes. However, due to how little room there was between flown walls, the magnets continuously got stuck on the hardware on the way out. | |||
To resolve this we put the magnets inside the letters and the washers on the lines. These lines were made from the same 1mm cord as the other letters. | |||
----------------------- | |||
'''Paperwork examples relating to this production for your reference''' | |||
<pdf>MWWFLY1.pdf</pdf> | |||
'''Groundplans at 1:200''' | |||
[[File:GroundplansMWWSheet1.pdf]] | |||
[[File:GroundplansMWWSheet2.pdf]] | |||
[[File:GroundplansMWWSheet3.pdf]] | |||
--- | |||
== Stage Management == | |||
== Production Electrics == | |||
===LX Crew Call Sheet=== | |||
[[File:LX_Crew_Calls.pdf]] | |||
===LX Summary of Crew Hours=== | |||
[[File:Crew_Hours.pdf]] | |||
===LX Equipment List=== | |||
[[File:Equipment_List.pdf]] | |||
===LX Colour Call=== | |||
[[File:Colour_Call.pdf]] | |||
===LX Channel / Dimmer Hook Up Sheet=== | |||
[[File:LX_Hook_Up.pdf]] | |||
===Full LX Plan=== | |||
<pdf>MWOW_LX_plan_v5.pdf</pdf> | |||
== Lighting Design == | |||
Latest revision as of 12:10, 18 November 2013
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Die Lustigen Weiber von Windsor
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Synopsis
Production Photographs
All images Ken Dundas, RCS.
Production&Creative Team
Director- Nicholette Moner
Production Manager - Sandy McRobbie
Set Designer - Cordelia Chisholm
Lighting Designer - Roy Herd
Stage Manager - Alice McKay
Deputy Stage Manager - Fiona Findlater
Assistant Stage Managers - Eve Kerr, Ross Jardine, Katy Nicolson, Siobhán Scott
Technical Stage Manager - Melissa MacDonald
Deputy TSM/Head flys - Andrew McCabe
Technical Crew - Stuart Lord, Sarah MacDonald, Chrissie Huxford and Robert Gear
Chief Production Electrician - Blair Omond
Deputy PLX and Lighting Operator - John Beggan
Electrics Crew - Kieran Fitzpatrick, Maciej Kopka
Assistant Carpenters - Robert Gear, Connor Gallagher, Lauren Keanie
Assistant Props Makers - Zoe Kemp, Clara Fink, Lisa Speirs
Assistant Scenic Artists - Carolyn Clark, Iona Gray
Costume Dept - Jade McNaughton, Sophie Prior, Carola Gudim, Evonne MacRitchie
Technical Stage Management
Technical Challenges
Flown Walls
One of our main challenges on this opera was fitting in all of the flown elements. To begin with we rigged the flown walls as normal with turnbuckles, drifts ( 7000m) and flying irons- however, the flown walls were very top heavy as each flat had wooden cornicing along the front (weighing 14kg) this caused all of the walls flats to lean both in their IN and OUT positions.
After much debate new Open Ended drifts and wedge sockets were bought. Rather than hanging the flats from back with the irons in the US side, we hung them by drilling holes in the top of the flat and threading the drifts though the flat to the flying irons which were positioned inside the flat. This distributed the weight more evenly and made a significant difference.
Letter Lines
During the Windsor Forest scene, 100 letters were to fly in. For this we used a hemp bar, a CW bar and, as we had run out of space in the grid, we used x2 3000mm pieces of conduit. We joined them and taped over the join to strengthen it with tape- this fitted better than adding another hemp bar.
The letters were attached to the bars with lengths of 1mm braided cord ( available from Flints at £9.00/100m. ) this worked better than fishing line as the letters were simply empty handmade evelopes- the lack of weight would have made the fishing line curl up and look untidy. The cord had a matte quality to it that made it less obvious than fishing line- which could catch the light.
Individual Love Letter Lines
During Act 2 there were 3 lines which were to be flown in and a love letter attached to each- with not fiddling. At first we attached magnets to the lines and put penny washers in the envelopes. However, due to how little room there was between flown walls, the magnets continuously got stuck on the hardware on the way out.
To resolve this we put the magnets inside the letters and the washers on the lines. These lines were made from the same 1mm cord as the other letters.
Paperwork examples relating to this production for your reference
Groundplans at 1:200
---
Stage Management
Production Electrics
LX Crew Call Sheet
LX Summary of Crew Hours
LX Equipment List
LX Colour Call
LX Channel / Dimmer Hook Up Sheet
Full LX Plan