CPP3 2022: Difference between revisions
| (25 intermediate revisions by 3 users not shown) | |||
| Line 6: | Line 6: | ||
! style="background-color: #000000; font-size: 200%;" align="center" colspan="2"| <span style="color: #FFFFFF;">'''{{PAGENAME}}'''</span> | ! style="background-color: #000000; font-size: 200%;" align="center" colspan="2"| <span style="color: #FFFFFF;">'''{{PAGENAME}}'''</span> | ||
|- | |- | ||
|align="center" | [[Image: | |align="center" | [[Image:275255300_309022034458697_2760269193139963022_n.jpg | 250px]] | ||
|- | |- | ||
! style="background-color:#000000; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma "> <span style="color: #FFFFFF;">'''Summary'''</span> | ! style="background-color:#000000; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma "> <span style="color: #FFFFFF;">'''Summary'''</span> | ||
| Line 28: | Line 28: | ||
|align="center" colspan="2"|'''Lighting Technicians''' <div style="text-align: centre;"> [[Jordan Alsoudani]] </div> | |align="center" colspan="2"|'''Lighting Technicians''' <div style="text-align: centre;"> [[Jordan Alsoudani]] </div> | ||
|- | |- | ||
|align="center" colspan="2"|'''Head of Stage''' <div style="text-align: centre;"> [[ | |align="center" colspan="2"|'''Head of Stage''' <div style="text-align: centre;"> [[Malcolm Stephen]] </div> | ||
|- | |- | ||
| Line 37: | Line 37: | ||
=Stage Department= | =Stage Department= | ||
The production took place in RS2 using the Sixty 82 self-climbing truss system. The stage was placed at the opposite end from the dock doors, so as to allow the easiest routes for audience access and egress. The truss was in a 9x9m configuration at the maximum 5.2m for the room. It was bare on 3 sides, but at the rear, it had masked towers and a tensioned cyc, which was backed by masking legs. The floor was four 2m wide rolls of grey 12m Harlequin reversible dance floor, which was laid under the cyc, as only 9m was visible to the audience. The front 2 motors were taken off to allow easier access for the audience SL and SR. These were replaced by clutch-chain safties. | |||
There was a 6m FoH truss, raised on manual chain blocks, and safetied using slings. | |||
Drop bars for LX were hung on the SL and SR sides, using open-ended drifts, Reutlingers, and scaffold pipe. These were at 3.8m, which was set by driving the truss to 1.4m, attaching and tensioning the lines onto the pipe and truss, then raising the truss to the full 5.2m height. | |||
The audience was on 3 sides, with two short runs of 8 seats (6 for A la Carte) on both the stage left and right sides and a larger seating bank, consisting of two levels, which could accommodate up to 26. The raised element of the seating bank was a 200mm riser, with a kick-rail and tension-wire barrier at the rear. | |||
'''Jane''' | |||
The set-up for Jane consisted of 3 drop bars (using open-ended drifts, Reutlingers, and scaffold pipe) hung 4m above the stage, upon which plastic sheeting was attached. These plastic sheets are colour coded on the plan. Red was 4.5m wide, yellow 1.5m wide, blue 4m wide and green 3m wide. All were 4m drop, so they just skimmed the ground and no more. The sheeting was attached with small pieces of masking tape so that they could be torn down towards the end of the performance. | |||
<pdf width="750" height="530">Jane.pdf</pdf> | |||
[[File:Jane3D.jpg|750px]] | |||
'''A la Carte''' | |||
A la Carte was a much simpler set-up, which only had a table placed centre stage. | |||
<pdf width="750" height="530>AlaCarte.pdf</pdf> | |||
[[File:AlaCarte3D.jpg|750px]] | |||
=Stage Management= | =Stage Management= | ||
=Sound= | =Sound= | ||
Both shows had audience seated on three sides of the performance space. | |||
the system was made up of four KV2 EX6's and two EV subs | |||
Within Jane we used a wireless handheld mic and applied different effects to it to enhance the mood of the piece. | |||
within A Le Carte an MKE was used in the hairline position to capture mouth noises and create ASMR. although an ear hanger might have been a more elegant solution due to proximity we were unable to do this for fear of the mic getting covered in food. | |||
Latest revision as of 11:47, 16 March 2022
| CPP3 2022 | |
|---|---|
| |
| Summary | |
| Location RS2
| |
| Creative Team | |
| Director CPP3
| |
| Lighting Designer | |
| Sound Designer | |
| Production Team | |
| Production Manager Avalon Hernandez
| |
| Deputy Stage Manager | |
| Lighting Technicians | |
| Head of Stage | |
Overview
This years CPP3 shows consisted of two performances, Jane, a piece focusing on the themes of love and passion and A Le Carte a piece exploring themes of gluttony.
Stage Department
The production took place in RS2 using the Sixty 82 self-climbing truss system. The stage was placed at the opposite end from the dock doors, so as to allow the easiest routes for audience access and egress. The truss was in a 9x9m configuration at the maximum 5.2m for the room. It was bare on 3 sides, but at the rear, it had masked towers and a tensioned cyc, which was backed by masking legs. The floor was four 2m wide rolls of grey 12m Harlequin reversible dance floor, which was laid under the cyc, as only 9m was visible to the audience. The front 2 motors were taken off to allow easier access for the audience SL and SR. These were replaced by clutch-chain safties.
There was a 6m FoH truss, raised on manual chain blocks, and safetied using slings.
Drop bars for LX were hung on the SL and SR sides, using open-ended drifts, Reutlingers, and scaffold pipe. These were at 3.8m, which was set by driving the truss to 1.4m, attaching and tensioning the lines onto the pipe and truss, then raising the truss to the full 5.2m height.
The audience was on 3 sides, with two short runs of 8 seats (6 for A la Carte) on both the stage left and right sides and a larger seating bank, consisting of two levels, which could accommodate up to 26. The raised element of the seating bank was a 200mm riser, with a kick-rail and tension-wire barrier at the rear.
Jane
The set-up for Jane consisted of 3 drop bars (using open-ended drifts, Reutlingers, and scaffold pipe) hung 4m above the stage, upon which plastic sheeting was attached. These plastic sheets are colour coded on the plan. Red was 4.5m wide, yellow 1.5m wide, blue 4m wide and green 3m wide. All were 4m drop, so they just skimmed the ground and no more. The sheeting was attached with small pieces of masking tape so that they could be torn down towards the end of the performance.
A la Carte
A la Carte was a much simpler set-up, which only had a table placed centre stage.
Stage Management
Sound
Both shows had audience seated on three sides of the performance space.
the system was made up of four KV2 EX6's and two EV subs
Within Jane we used a wireless handheld mic and applied different effects to it to enhance the mood of the piece.
within A Le Carte an MKE was used in the hairline position to capture mouth noises and create ASMR. although an ear hanger might have been a more elegant solution due to proximity we were unable to do this for fear of the mic getting covered in food.