Brigadoon

Creative Team
Director
Musical Director
Set and Costume Designer
Lighting Designer
Production Team
Stage Manager	Ryan Davy
Deputy Stage Manager	Babette Wickham-Riddick
Assistant Stage Manager	Calum Dunbar	Jack McWeeny
Technical Stage Manager	Fiona Dalgleish
Deputy Technical Stage Manager	Reece Flynn
Production Electrician	Patrick Hepplewhite
Deputy Production Electrician	Stephen Keenan
Lighting Programmer and Operator	Rachel Wells
Lighting Crew	Emma Campbell	Amy Dawson
Sound 1	Jamie Ford
Sound 2	Steven Selby
Crew
Venue	Chandler

Lighting

Brigadoon full scale sign

The Briagdoon sign consists of 57 small bayonet fittings and light bulbs with each letter being weird in series as separate channel and also 7 independent fittings placed randomly on the sign. The fittings are screwed into the sign with a large hole drilled into to fit in the live and neutral connection then a small hole to fit the earth. Each of the fittings are wired using Tri rated cable so it can be run as individual wires rather than having outer insulation making it easier to work with. Then each circuit finishes in a cable block which is connected to length of 15amp TRS which can then be plugged up.

Sound

Brigadoon was the chandler studio theatre production for the 2016/17 academic year. From a sound perspective the show was fairly simple:

There was; A 17 member cast, all mic-d with Lavaliere microphones A 5 piece trad band consisting of Drums, Double Bass, Piano, Pipes, Whistle and Fiddle A 3 Piece classical band consisting of, Violin, Cello, Fiddle. An MD who conducted and also played the Accordion and Glockenspiel.

The show was mixed from the seating bank on a DiGiCo SD9 (Running Stealth Core2) supplied by Apex Acoustics.

The show was mixed in the standard musical theatre format of Recalled VCA’s, tiered via midi by Qlab allowing the fairly large input count to be controlled on 12 faders. There was 112 cues across the two hour show.

Sound Re-Enforcement System

At the heart of the system was a DiGiCo SD9 (Running stealth core2) inputs and outputs were via a pair of DiGiCo D-Racks, one in the pit and one in the control room. 
This was then tied into the chandler sound system (With the addition of two D&B C7’s provided by the electro-acoustics dept. The zero point of the system was between catwalks 2 and 3.

Mix Position

This year alongside the sound 2 we constructed a new style of mix position. Traditionally a piece of 4x4 steel deck was lifted above the existing seats, meaning that the operator had to bend there knees slightly to be able to stand comfortably.

This year we laid the deck on the floor of the seating bank (The backs seats one and three were removed to facilitate this) the kit to do this is looked after by Steven Selby.

Sound Design

Due to having worked together with Philip the director previously, I was given a lot of freedom with the design on this show, being assured that Philip would ‘Love whatever I do’ the effects in the show were very naturalistic, almost too obvious, trying in with the ‘Theme Park’ idea. Playback was provided by a Macbook Pro running Figure53’s Qlab3 running the Pro Audio License. Qlab also handled all the desk control midi.