Jekyll and Hyde: Difference between revisions
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<pdf>Jekyll and Hyde Ground Plan 1-25 @A0 v2016.pdf</pdf> | <pdf>Jekyll and Hyde Ground Plan 1-25 @A0 v2016.pdf</pdf> | ||
==Equipment List== | ==Equipment List== | ||
Revision as of 23:09, 15 November 2015
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Jekyll and Hyde Poster
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Creative Team
Director Benedicte Seierup & Lucien Lindsay-MacDougall
Designer Emma Green
Lighting Designer Laura Mason
Sound Designer Sean Quinn
BP Screen Design Lorn Macdonald, Emma Green
Composer Lewis Anderson
Voice Support Bill Wright
Devised by The Company
Production Team
Production Manager Lynfryn MacKenzie
Stage Manager Riona Gilliland
Deputy Stage Manager Kiri Newbery
Assistant Stage Managers Babette Wickham-Riddick, Valentino Fabbreschi
Technical Stage Manager Ryan Greenfield
Stage Technicians Miranda Stewart
Chief Production Electrician Neil Smith
Assistant Electricians Matthew Turnbull, Rachel Wells
Lighting Programmer and Operator Gary Ashbridge
Sound Operator Jamie Ford
LX
Lighting
Lighting in Traverse made lighting the actors, while not lighting the audience or shinning light into their eyes, a bit of a challenge. To remedy these issues I chose to keep the central lanterns at a very steep angle to the stage, and use some lanterns from the walls as fill light for when the performers strayed from the centre. It meant the lighting didn't look as realistic as it could have, but for this piece that was actually the desired look.
The general colour pallet consisted of a sepia wash (using Straw and Chocolate) and a cold white, which I chose to create a distinct contrast between time and place throughout the play. Due to the extra angles that need to be covered in Traverse and the limited supply of lanterns to do so, all other colour had to come from the TW1's or the booms.
The booms were used as a way to incorporate some different angles and throw shadows across the space. I also had lighting under the control position on booms to throw the shadows of the performers on a screen that was hung there, and to light the musicians. Two floods were used behind the BP screen for shadow play. One was lower than the other so as to create different dimensions to the shadows depending on the desired effect, i.e. realistic shadows or long distorted shadows.
Lighting Plan & Paperwork
Video
Video played a huge part in this performance and so required a fairly intricate system to make it work. The system was build around the GrandMA console and included the Resolume Arena 4 Media Server. The system diagram is shown below:
In a system as small as this, it was okay to run MANet and ArtNet through the same switch. However on a large system, this could cause issues and should be avoided if possible.
Stage Management
Prop Making
Onstage Diagrams
As there where no wings the Stage Management team had to find a way of placing props and furniture in the same places onstage for each performance without the traditional props table. I created these diagrams to assist with this.
The Hospital Bed
This bed was a crucial part of the show. Most of the action took place around it. It was sourced from the Tron Props Store.
The Mirror Frame
The Directors specified a size they would like the frame to be. We sourced one from IKEA the right size and colour. Link to Frame: http://www.ikea.com/gb/en/catalog/products/00174769/
TSM
Ground Plan
The Ground Plan for Jekyll and Hyde was draw by Ryan Greenfield but was designed by Emma Green. The use of the ground plan for this show was to show the used space in the venue and to show the location of the set and seating.