Cabaret - The Musical

Cabaret_Logo.png
Creative Team
Director	Andrew Panton
Musical Director	David Higham
EJ Boyle]]
Set and Costume Designer	Kenneth Macleod
Lighting Designer	Grant Anderson
Production Team
Stage Manager	Sam Wright
Deputy Stage Manager	Judy Stewart
Technical Stage Manager	Rory Boyd
Depute Technical Stage Manager	Ryan Greenfield
Chief Production Electrician	Stephen Cunningham
Lighting Programmer and Operator	Neil Smith
Sound Number 1	Sean Quinn
style="background-color:#990000 Media:Example.ogg ; font-size: 120%;" align="center" colspan="2"| Stats
Venue	New Athenaeum Theatre

Cabaret is a musical based on a book written by Christopher Isherwood, music by John Kander and lyrics by Fred Ebb. The 1966 Broadway production became a hit, inspiring numerous subsequent productions in London and New York, as well as the 1972 film by the same name.

Photos

RCS Flickr Page

Cast List

Emcee - Christopher Jordan Marshall

Cliff Bradshaw - Dimitri Griper

Ernst Ludwig - Will Kinnon

Herr Schultz - Thomas Bird

Sally Bowles - Katie Barnett Eleanor Griffiths

Fraulein Schneider - Megan McGuire

Fraulein Kost - Tabitha Thinge

Hitler Youth - Aidan MacColl

Kit Kat Kinder Rosie (2 Ladies) Mariah Parris Rudie (2 Ladies) Shannon Swan Lulu Kelsey Falconer Helga Emily Bradley Victor Duncan Brown Bobby Julian Capolei Helmut Euan Bennet Henkel Aidan MacColl Kitty Emma Mullen Hans Hannah Pauley Texas Hayley VerValin Liesel Jamie Pritchard Gretel Jillian Cunningham Frenchie Eleanor Griffiths Katie Barnett

TSM

Cabaret was a very technical show, especially during the planning and build phases. In total, there were 7 traps in the stage and forestage. These included: 1 Genie Trap, 1 Pop Up Trap, 1 Table Trap, and 4 side access traps. The front of the stage comprised of an entirely custom build section, which would house access tunnels and trap doors for the cast to enter and exit from.

Set Elements

Flown

Bar 1 - Electrokabuki Bar 3 - 4x8 Leg Bar 10 - Door Flat Bar 14 - Kit Kat Klub Sign Bar 16 - False Pros Header Bar 21 - Full Black Bar 22 - Painted Gauze Bar 23 - 2 8x8 Half Tabs

Automation

In-between bars 15 + 16, an automated trapeze bar was installed to house a 5k. This was used so that the fixture could fly all the way from the grid to stage level, without seeing a large bar flying over the set and stage. An other automated bar was installed behind bar 16 (false pros header). This was due to not having enough bars in the correct places.

Sliders

• 3 UCLA walls that fit under platform. 2 outside ones have practical doors.
• 3 Wooden panel sliders that fit under platform.

Fixed Set

• 6 portals - 3xSR + 3xSL (explained below.)
• 3000mm high platform U/S (explained below.)
• White cyc. (bar 30)

Portals

A main part of the design was six large glittery portals that also lit up. These had been used twice before for previous shows in outside venues and were not in great condition. We had to do quite a lot of work to them during the fit up to make them look straight.

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Floor

The floor also had been recycled from previous shows. It consisted of simple MDF sheets which we painted black. It was then coated in 3 layers of high gloss glaze to give a very deep black mirrored effect. It was really important that we kept the floor clean and shiny.

Floor Care

To keep the floor clean and shiny I bought some simple bath towels from Primark and we used these to wash the stage. To do this, simply wet the towel with hot water, wrap it round a brush and push it in straight lines across the stage. Once done, rinse the towel and leave it to dry. This is a highly effective and very quick way to clean the floor and it also does not leave big water marks like traditional mops tend to do! We had to mop the stage at least once a day during tech work periods and then once before the show and again at the interval. I would highly recommend using towels to mop any stage.

NOTE - You will also want to sweep/vacuum the stage before using wet towels to get the best results.

Platform

The platform was the main constructed design element of the show. Originally it tracked on and off stage and had two levels; one just above the stage and one 3000mm high. This design was cut back due to budget restraints and the volume of time and work that it would of taken to construct such a high cantelevered steel structure. Another challenge would of been trucking the huge sections on and off of the stage. It would of taken approximately 6 crew to get each one moving and this was just impossible! The new design consisted of no lower level and still the 3000mm high deck, none of which trucked, it was in a fixed position and other set elements trucked round it.

The basic construction was 3 sections of 8x4 steel deck, 2 sections of 4x4 steel deck and 2 sections of 2x4 steel deck, custom built access treads and alliminium scaffolding bars to act as the legs and bracing. The outline of the platform is shown in the PDF below. Note - Not all of the cross bracing and horisontal bracing is shown in the ISO.

Challenge 1

Masking

• 16x5 Black Border (bar 27)
• 16x5 Black Border (bar 17)
• 16x5 Black Border (bar 11)
• 4x12 Black Leg (DSR Entrance running DS->US)
• 4x12 Black Leg (DSL Entrance running DS->US)
• 4x12 Black Leg (MSR Entrance running DS->US)
• 4x12 Black Leg (MSL Entrance running DS->US)
• 2400x6000 Hard Masker on the off stage edge of all portals. (6 in total)
• 1400x6000 Hard Masker on the on stage edge of MS portals to mask platform "towers".

Scene Changes

All of the scene changes in Legally Blonde were very quick.

General Notes

Temperature- Musical Theatre need the venue to be warm in order to work! Speak to the venue techs in advance to see about putting additional heaters in the wings to keep the cast warm when not on stage.

Noise- Dance shoes make a lot of noise in the wings and performers don't have time to think about how loud there quick change will be. Try and situate quick change areas away from the stage or in the void to try and mask noise. If appropriate put carpet down in high traffic areas of the wings to help dampen the sound.

Tidiness- Always leave the venue, room1 and scene dock as tidy as it can be, these big shows move quickly and you don't want to be chasing your tail tidying up when you are pushed for time.

LX

Lighting Booms

The booms for this show were on 6m length scaff poles. These were then attached to the grid, as well as the base being screwed into the floor.

Sound

File:costings 2.docx

File:SYSTEM DESIGN.docx

File:CHAN LIST.docx

File:pit.docx