CPP 1 & 4 2021

CPP 1 & 4 2021
Summary
Dates June 2021
Performance Course CPP
Location RS2
Creative Team
Directors Forest Wolfe Sally Charlton Althea Young
Sound Designer Stuart Green
Lighting Designer Mhairhi Burton Coyle
Production Team
Production Manager Kevin Murray
Technical Manager Chris Gowling
Stage Manager Group A Eve Imrie
Stage Manager Group B Catherine Donaldson
Stage Manager Group C Coral Nelson
Stage Supervisor Rory Gilmore
Stage Technician Lauren Murison
Lighting Technician Thomas O'Hear
Assistant Stage Managers Pippa Reilly Maddy Frost
Production Sound Engineer David Graham
Sound Technicians Caitlin Riddell Chloe Chancheong

Summary

CPP 1&4 is a run of shows that are performed by first year CPP students and directed by 4th year CPP students. CPP 1&4 in 2021 consisted of 3 groups Directed by Forest Wolfe, Sally Charlton & Althea Young. Due to Covid-19 restrictions the chandler (the usual venue for CPP 1&4) was not being used for productions so RS2 was used as the venue.

Sound

This show was a challenge as it was livestreamed. This meant that The mixer was not mixing for an audience but for an internet stream. This meant it required to be heard as if from speakers not as if from a PA.

Production Sound

The aim of this system was foldback not amplification of the cast. Therefore the design was aimed at foldback for the casts benefit.

Sound Plan

This was the plan used for the fit-up.

Kit Requirements

This was all the kit used on CPP1&4, we found we needed more than originally expected with this show due to the time for shows to be realised in venue and the changes that required after that.

Power

This is the power documentation produced to make sure we had enough resources in the room to run our system.

Scheduling

These are the Schedules used by the Sound Dept on this show.

Technical Stage Department

Summary

It was a reasonably simple show for the Technical stage department. Through discussions with the directors we ascertained that 2 of the shows wanted masking and one would like to have no masking and to see the truss.

Truss

The truss setup was designed to allow a very wide performance space (sitting at 9m wide) and enough depth for 4 roles of dancefloor to be layed and removed between performances if needed. The original idea was to have an 8m deep structure as this was a setup that we had used and liked before, however it was decided to allow the dancefloor to flip over we'd extend the truss by 0.5m as the bases of the towers would have pinned down the dancefloor otherwise. A '+' shaped truss crossbar was placed over the top of the main grid to facilitate scenic flying elemensts such as kabooki drops and petal drops.

Group A

Directed By Forest Wolfe

This was the most tehcnically challenging group in terms of scenic effects as the nature of the piece surrounded alot of shaddow work. We rigged the chandler cyc at the back to give a surface to project shadows onto. Next was the petal deop which I had never designed a petal drop of that scale before we used some black material, the petals left over from the Bacchae and constructed a counterweighted fly bar on the truss to create a petal bag. In lifting the counterweight off the ground and lowering the bar by a certain distance petals would fall over the back of the bar and rain on stage- this was very difficult to control as is the nature of petal drops, but also due to the height in the room, by the time the bar was lowered enough for petals to come down it was roughly 4-5m from the floor which didn't give a great deal of height for the petals to disperse in the air and gave a bit more of a dumping effect than a steady rain effect.

We also created a kabooki drop bag for a bunch of roses, using a simple manual technique where a pin tied to some string was holing the bag in place and once the sting was pulled the pin would come out of the hooks and the bag would swing down dropping the bunch of roses towards the ground.

The final effect was the flying heart- this was a simple but effective rig. with a piece of Parachord tied to a Bulldog clip which was controlled from offstage. before the show the heart would get clipped in and raised up for the cue in the show when the heart had to fly in. to head height for an actor to recieve. the heart was the perfect weight to do this and was very easy to control when the heart was on the line. During tehcnical rehearsals the director asked if we could fly the line in for the heart to fly back out. we discovered here that without the heart there wasn't enough weight to pull the line in smothly on it's own. to overcome this a lead fishing weight was attached to the end of the line where the heart would be to ensure it was easy to control in and out for the performance.

Group B

Directed by Sally Charlton

Group C

Directed By Althea Young