Betty Blue Eyes: Difference between revisions
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==Technical Stage Management== | ==Technical Stage Management== | ||
Betty Blue Eyes was a technically challenging show as there was quite a large set in a small studio space. Another challenge was that the stage was set up in a traverse style; meaning that the audience was seated ether side of the stage. As can be seen from the groundplan below the stage and seating made full use of the space in the | Betty Blue Eyes was a technically challenging show as there was quite a large set in a small studio space. Another challenge was that the stage was set up in a traverse style; meaning that the audience was seated ether side of the stage. As can be seen from the groundplan below the stage and seating made full use of the space in the . | ||
[[Image:BBECopy.jpg |400px]][[Image:BBECast.jpg |550px]] | [[Image:BBECopy.jpg |400px]][[Image:BBECast.jpg |550px]] | ||
Revision as of 20:15, 1 February 2014
| Betty Blue Eyes | |
|---|---|
| |
| Creative | |
| Director | Dougie Irvine |
| Associate Director | Emily-Jane Boyle |
| Musical Director | David Higham |
| Choreographer | Emily-Jane Boyle |
| Set and Costume Designer | Fraser Lappin |
| Production Team | |
| Stage Manager | Jane Paterson |
| Deputy Stage Manager | Oran O'Neill |
| Assistant Stage Manager | Ross Jardine |
| Assistant Stage Manager | Elspeth Watt |
| Technical Stage Manager | Andrew McCabe |
| Deputy Technical Stage Manager | Kieran Fitzpatrick |
| Chief Production Electrician | Ben Terry |
| Lighting Crew | Maciej Kopka |
| Lighting Crew | Sarah McDonald |
| Sound Number 1 | Graeme Brown |
| Sound Number 2 | Laura Dougan |
| Stats | |
| Venue | Chandler |
Technical Stage Management
Betty Blue Eyes was a technically challenging show as there was quite a large set in a small studio space. Another challenge was that the stage was set up in a traverse style; meaning that the audience was seated ether side of the stage. As can be seen from the groundplan below the stage and seating made full use of the space in the .
Groundplan
Kabuki
In 'Betty Blue Eyes' we used a double kabuki for one of the scenes near the end of act 1. The kabuki dropped in front of the main sliding doors U/S and was then ripped down by one of the cast.
We made the kabuki using old fabric we had in stock from Dracula. The fabric was cut to length to fit the stage and then the loop part of Velcro was stitched to the top edge. I used the loop section of the Velcro because the cast would be holding it on stage and the loop is softer and not as sharp/rough as the hoop section. There was a beam of wood attached to the catwalks using fabric ties, normally used on cloths, to hold the kabuki 'mechanism' up. Pairs of eye screws were put into the wood with a slight gap between them to allow the bag fabric to fit. The bag (that holds the kabuki fabric up when not seen) was made out of black tat. It was stapled to the back edge of the wooden beam and was around 500mm in length; just enough to go round the fabric when folded up. On the front edge of the wooden beam was the hook part of the Velcro. This is where the kabuki fabric was held up, and the Velcro allowed it to be easily ripped down by the cast and re-set by the crew. To complete the kabuki we used small pins (normally used in pin hinges) attached to a line of black sash that allowed the operator to deploy the kabuki when needed.
This kabuki (not including red fabric) is now in stock and is stored in the scene dock.
Mirror Ball and Chandelier
Part of the design in Betty Blue Eyes required a Mirror Ball and Chandelier to be able to fly in and out.
Quick Signs
Masking for Traverse Style
To mask a set with audience on both sides can be quite difficult, but thankfully in Betty Blue Eyes due to the orientation of the stage and the Audience it was quite simple.
- We used the Chandler tab track to mask behind the audience risers. These just had the standard Chandler blacks on them.
- The sides of the U/S flat were masked using small blacks from the Ath that were tied back and pinned up to make them look neat.
- The D/S flat was masked using small blacks from the Ath that covered the area behind the flat and also masked the retracted Chandler seating bank.
We had to be quite careful with how much space we used for the D/S masking as there had to be sufficient room between the legs and audience to be used as an emergency walkway.
Sliding Doors
One of the main parts of the design for Betty Blue Eyes was the sliding doors.
First Year Crew
Lighting
LD: Sergey Jakovsky Board Op/Programmer: Sarah MacDonald Since the stage was in traverse everything was mirrored which meant the use of groups was extremely helpful when programming. As well as generic fixtures we used LED parcans, Mac TW1s,various practicals and a mirrorball. We used the ETC Eos Ti desk.
Cue List and LX Plan
Sound
Stage Management
Betty blue eyes was a really good show in terms of prop sources and finds. We had a few paper makes and a few big makes. The only main issue was keeping on top of where props ended up throughout the performance as there were so many entrances and exits.
Props Lists and References
Act 1
File:Props list Act1 V.1 .docx
File:Act 1 - Props references.docx
Act 2
File:Props List- Act 2 V.1.docx
File:Act 2 - props references .docx
Stage Management Resources
Please find bellow a list of templates and instructions on how to make some of the props that were used in Betty Blue Eyes
Ration book cover template
For use on wartime plays/musicals. A4 size sheet (for printing), with cutting guidelines. See below tea-staining file to add full-effect on props.
File:Ration book cover template.pdf
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Ration book back cover template
Same as above, but with back cover! The wording is legitimate of the time, incase designers get silly with you
File:Ration Book back cover template.pdf
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Instructions on how to tea-stain paper
Important thing to learn for making paper props in plays set in the past.
File:How to tea stain paper.docx
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Prop blagging letter template
If anyone asks for a letter before they can give you any props. This has spacing top and bottom for the RCS headed paper, available from the AAS Office.
Note: RCS is a registered charity, so ask to speak to the person who deals with charity donations at the company. Have the charity number to hand.
Letter used to get Ikea Table
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Old fashioned can labels
Fit on standard size baked bean/soup tins. For best results add a light layer of PVA glue to the top and bottom edges, and the end which sticks the label down.
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PROPPING CONTACT LIST
Useful contacts who've helped us during this show.
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Union Jack Flag Template
Pages 1&2 are the same, and 3&4 are the same, to be printed double sided to make 1 flag.
We used kebab skewers as the flag sticks.
Prop Makes Photographs
Princess Elizabeth and Prince Phillip Photographs
1930's Microphone
The two ends of the microphone were constructed using a polystyrene ball, halved and then two card cylinders were attached. I Made a collar of cardboard and attached it around the centre to make the middle section of the microphone. I painted the base silver and the top black, both with spray paint. Then used a copper colour paint for the centre. Scenic showed me how to make a metal effect using gold white and black over the silver and copper colour. The mesh top was made using a gold/black lace type material from wardrobe and attached using spray mount and black LX tape. It is fiddly to get it to look flat. For the writing on the centre I painted some card to look like metal using the technique from scenic and then printed straight onto it. The Yolk and fake bolts of the microphone was made using styrofoam from props and painted. I put a hole the base and attached to the microphone stand, then screwed a nut over it to keep it still. The Stand was a RCS stock black stand, wrapped tightly in a3 paper and secured with masking tape, then painted. The microphone took a large number of hours to make but working replicas cost in excess of £500
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Running Lists
UpStage Wing Running List (ASM-Ross Jardine)
Act 1: File:Act1 Running List Upstage.pdf Act 2: File:Act2 Running List Upstage.pdf