Cymbeline 2019: Difference between revisions
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[[Category:Productions]] | |||
[[Category:Drama]] | |||
{| style=" border: 4px solid #000000; background-color: #FFFFFF; float: right; clear: right; margin: 2px; width: 22em;" | |||
! style="background-color: #000000; font-size: 150%;" align="center" colspan="2"| <span style="color: #ff9900;">'''{{PAGENAME}}'''</span> | |||
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|align="center" | | |||
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! style="background-color:#000000; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma "> <span style="color: #ff9900;">'''Summary'''</span> | |||
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|'''Dates''' <div style="text-align: centre;"> 6th February - 9th February 2019 </div> | |||
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|'''Performance Course''' <div style="text-align: centre;"> Second Year BA Acting </div> | |||
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|'''Location''' <div style="text-align: centre;"> Chandler Studio Theatre </div> | |||
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! style="background-color:#000000; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma"> <span style="color: #ff9900;">'''Creative Team'''</span> | |||
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|'''Director''' <div style="text-align: centre;"> Peter Collins</div> | |||
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|'''Assistant Director''' <div style="text-align: centre;"> Edward Soper </div> | |||
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|'''Fight Director''' <div style="text-align: centre;"> Raymond Short </div> | |||
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|'''Designer''' <div style="text-align: centre;"> Laura McCartney </div> | |||
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|'''Sound Designer''' <div style="text-align: centre;"> [[Meirian Hall-Jones]] </div> | |||
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|'''Lighting Designer''' <div style="text-align: centre;"> [[Simon McEwan]] </div> | |||
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! style="background-color:#000000; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma"> <span style="color: #ff9900;">'''Production Team'''</span> | |||
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|'''Stage Manager''' <div style="text-align: centre;"> [[Fiona Elliott]] </div> | |||
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|'''Deputy Stage Manager''' <div style="text-align: centre;"> [[Dale Gibb]] </div> | |||
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|'''Assistant Stage Manager Rehearsals''' <div style="text-align: centre;"> [[Ruby Noble]] </div> | |||
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|'''Assistant Stage Manager Rehearsals''' <div style="text-align: centre;"> [[Ewan Sullivan]] </div> | |||
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|'''Assistant Stage Manager Rehearsals''' <div style="text-align: centre;"> [[Ryan Worrell]] </div> | |||
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|'''Assistant Stage Manager''' <div style="text-align: centre;"> [[Madeline Hanton]] </div> | |||
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|'''Assistant Stage Manager''' <div style="text-align: centre;"> [[Jessica McKay]] </div> | |||
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|'''Stage Supervisor''' <div style="text-align: centre;"> [[Sean Ramsay]] </div> | |||
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|'''Stage Supervisor''' <div style="text-align: centre;"> [[Lewis Douglas]] </div> | |||
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|'''Production Electrician''' <div style="text-align: centre;"> [[Peter Goddard]] </div> | |||
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|'''Deputy Production Electrician''' <div style="text-align: centre;"> [[Joshua Brown]] </div> | |||
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|'''LX Programmer''' <div style="text-align: centre;"> [[Andrew Lynch]] </div> | |||
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|'''Stage LX''' <div style="text-align: centre;"> [[Jamie Murray]] </div> | |||
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|'''Sound No.2/Operator''' <div style="text-align: centre;"> [[Danielle Waldman]] </div> | |||
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|} | |||
== Summary == | |||
== Cast == | |||
Cymbeline - Alana Jackson | |||
The Duke/ British Soldier - John Whittle | |||
Imogen - Shyvonne Ahmmad | |||
Posthumus - Sam Stopford | |||
Cloten / British Soldier - Adam Parkinson | |||
Cornelious / Roman Captain - Calvin Noble | |||
Helen / Caius Lucius - Natalie Mitson | |||
British Lord/ Roman Gentleman/ Guiderius - Ian Sawan | |||
British Lady/ Arviragus - Lesley Lemon | |||
Pisanio - Yingxue Zhang | |||
Ianchimo - Tommy Zachar | |||
Court Musician/ Belarius - McCallister Selva | |||
== Stage Management == | |||
''' Spreadsheet of props used in the show: ''' | |||
[[File:Cymbeline_Prop_Spreadsheet2.jpg|500px|]] | |||
''' Main risk assessment points were for: ''' | |||
- Pallets (Standing on, and moving) | |||
- Sand | |||
- Flame | |||
- Weapons | |||
== Technical Stage Management == | |||
[[File:Ground_plan.pdf]] | |||
'''Silk Drops''' | |||
We had 5 silk reveals during this production and these unrolled down from the catwalks and then were ripped down by a member of cast. To do the unroll we used a pin and half a pin hinge so that when the pin was removed the silk would fall. Pieces of sash were used to wrap around the silk to hold them up with a bowline tied in the end so that it could link into the hinge. To make it easy for cast to rip down the tops of these were velcroed on the scaffholding bars at the top with three small pieces of velcro. | |||
== Lighting == | |||
As an electrics team we had a fairly bumpy ride during the fit up & tech period, having to solve many issues along the way. Notable technical challenges we encountered were having to light underneath the wooden pallet formation onstage, lighting inside the "trunk" set piece, and finally assembling a makeshift extension for the smoke machine to run underneath the aforementioned pallet formation. | |||
To light underneath the pallets we were going to have to run extensions from the floor dimmers, along the back wall and then eventually, run the csble through sand, underneath the pallets where the birdies would be situated. We borrowed some Soca from the Athenaeum to run to the pallets, there the fan outs would each be grelcoed, then extended to the birdies as required. This worked with minimal interference from the sand on the floor, and to our surprise they didn't require much maintenance post get out. | |||
As part of the show, we needed to light up a trunk from the inside to create a glow. In order to do this we secured some LED tape around the rim of the opening of the trunk using fasteners and cable ties. This tape was then wired into a 12V battery and dimmer allowing the actor to turn the tape on at the correct time. Due to the tape being wired directly into a switch rather than having DMX control, we were only able to set the intensity of the light and the colour would be left as a cool white. | |||
The largest challenge however was building the smoke machine extension- this ended up being cut as our final product u fortunately couldn't deliver the desired effect. Our task was to build a box around the smoke machine, then creating a suitable funnel system to attach to the end of the smoke machine. Attaching a 12v 40x40mm fan onto the end of a scaff pole coming out of the box structure, which was then attached to hosepipe, which had 4mm holes drilled interspersed down the length. The total length of piping from the back wall had to run 11.6 metres in total, round two corners. It was an ambitious attempt, but after failing to deliver the effect required, the smoke machine moved position and the extension tubing was cut. | |||
== Sound == | |||
1. This is the final Speaker Plan that was used for Cymbeline | |||
<pdf>Cymbeline_speaker_plot.pdf</pdf> | |||
2. Here is a link to a 'Gasp' sound effect that was recorded for the use of Cymbeline | |||
[[File:2_gasps.mp3|500px]] | |||
Latest revision as of 17:44, 15 March 2019
| Cymbeline 2019 | |
|---|---|
| Summary | |
| Dates 6th February - 9th February 2019
| |
| Performance Course Second Year BA Acting
| |
| Location Chandler Studio Theatre
| |
| Creative Team | |
| Director Peter Collins
| |
| Assistant Director Edward Soper
| |
| Fight Director Raymond Short
| |
| Designer Laura McCartney
| |
| Sound Designer | |
| Lighting Designer | |
| Production Team | |
| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Manager Rehearsals | |
| Assistant Stage Manager Rehearsals | |
| Assistant Stage Manager Rehearsals | |
| Assistant Stage Manager | |
| Assistant Stage Manager | |
| Stage Supervisor | |
| Stage Supervisor | |
| Production Electrician | |
| Deputy Production Electrician | |
| LX Programmer | |
| Stage LX | |
| Sound No.2/Operator | |
Summary
Cast
Cymbeline - Alana Jackson
The Duke/ British Soldier - John Whittle
Imogen - Shyvonne Ahmmad
Posthumus - Sam Stopford
Cloten / British Soldier - Adam Parkinson
Cornelious / Roman Captain - Calvin Noble
Helen / Caius Lucius - Natalie Mitson
British Lord/ Roman Gentleman/ Guiderius - Ian Sawan
British Lady/ Arviragus - Lesley Lemon
Pisanio - Yingxue Zhang
Ianchimo - Tommy Zachar
Court Musician/ Belarius - McCallister Selva
Stage Management
Spreadsheet of props used in the show:
Main risk assessment points were for:
- Pallets (Standing on, and moving)
- Sand
- Flame
- Weapons
Technical Stage Management
Silk Drops
We had 5 silk reveals during this production and these unrolled down from the catwalks and then were ripped down by a member of cast. To do the unroll we used a pin and half a pin hinge so that when the pin was removed the silk would fall. Pieces of sash were used to wrap around the silk to hold them up with a bowline tied in the end so that it could link into the hinge. To make it easy for cast to rip down the tops of these were velcroed on the scaffholding bars at the top with three small pieces of velcro.
Lighting
As an electrics team we had a fairly bumpy ride during the fit up & tech period, having to solve many issues along the way. Notable technical challenges we encountered were having to light underneath the wooden pallet formation onstage, lighting inside the "trunk" set piece, and finally assembling a makeshift extension for the smoke machine to run underneath the aforementioned pallet formation.
To light underneath the pallets we were going to have to run extensions from the floor dimmers, along the back wall and then eventually, run the csble through sand, underneath the pallets where the birdies would be situated. We borrowed some Soca from the Athenaeum to run to the pallets, there the fan outs would each be grelcoed, then extended to the birdies as required. This worked with minimal interference from the sand on the floor, and to our surprise they didn't require much maintenance post get out.
As part of the show, we needed to light up a trunk from the inside to create a glow. In order to do this we secured some LED tape around the rim of the opening of the trunk using fasteners and cable ties. This tape was then wired into a 12V battery and dimmer allowing the actor to turn the tape on at the correct time. Due to the tape being wired directly into a switch rather than having DMX control, we were only able to set the intensity of the light and the colour would be left as a cool white.
The largest challenge however was building the smoke machine extension- this ended up being cut as our final product u fortunately couldn't deliver the desired effect. Our task was to build a box around the smoke machine, then creating a suitable funnel system to attach to the end of the smoke machine. Attaching a 12v 40x40mm fan onto the end of a scaff pole coming out of the box structure, which was then attached to hosepipe, which had 4mm holes drilled interspersed down the length. The total length of piping from the back wall had to run 11.6 metres in total, round two corners. It was an ambitious attempt, but after failing to deliver the effect required, the smoke machine moved position and the extension tubing was cut.
Sound
1. This is the final Speaker Plan that was used for Cymbeline
2. Here is a link to a 'Gasp' sound effect that was recorded for the use of Cymbeline