Cabaret - The Musical: Difference between revisions
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<pdf>Kabuki2.pdf</pdf> | <pdf>Kabuki2.pdf</pdf> | ||
Along with the main kabuki, there were also 2 nazi banners located above the audience FOH. | |||
These proved to be challenging, however worked flawlessly for every performance. | |||
Due to the nature of the Ath, we could not use motors or truss for where they wanted the drops. Instead we used hemp and scaff, with some snatch blocks. | |||
We cut the ties of the banners, and installed 3 eyelets in each at the top. We then built a standard pin drop kabuki, and tested it. | |||
Once that worked, we added a second roll drop. The concept being: Drop 1 would be a roll drop, and would unfurl the banners over the audience. Drop 2 would occur at interval, and would release the banners to be lowered on a single line to the stage. | |||
At interval, the TSM, DTSM & a member of crew would go FOH and kindly ask the audience to leave the front seats. This was just incase when the banners lowered, they flew slightly into them. Once done, the TSM would go on cans and cue the second drop to the operators. Once the 2nd drop was complete, the operator would then lower the kabuki cloths to stage level, where they were folded by the floor crew then taken backstage. | |||
As they cloths were heavy, the bar tended to sway when launching the kabukis. Therefore, tension wires were installed to keep the bar steady. The units have a loud thud when firing, which added to the effect. | |||
The banners were then laid out in the scene dock flat, so the paint did not crease and peel. | |||
For the reset, the hemp bar would be lowered, and the rolled drops attached. | |||
===Floor=== | ===Floor=== | ||
Revision as of 12:11, 19 May 2016
| 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
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.
Groundplan
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.
Bar Allocation Sheets
Bar Allocation sheets were made for the fit up, which made it easier and quicker to load bars, without having to look at the ground plans.
Masking
- 2 8x8 Half Tabs
- 4x8 Leg
- 16x8 Full Black
- 2 4x12 Legs (Hemp)
- 4 small 6ft hard maskers (For infront of void)
Kabuki
There were three Kabukis in the show. The main one was located on Bar 1, and acted as house tabs. The designer requested that Silks were used, however due to budget constraints Polylining was bought instead. I specified that it was to be eyed every 1m, and also have led shot weights located along the bottom of the cloths.
As the drop was large, and also show critical, I sourced a electrokabuki unit. These are incredibly expensive to hire from our local hire companies, so I instead asked around the local Glasgow based theatre companies. Both Scottish Ballet & Opera have one, and we got ours from the latter. They were happy to let us borrow it, however requested that we insured it while it was with us. The unit consisted of 12 single droppers, 6 A units & 6 B Units.
This system worked flawlessly, and had no issues. Incase of a drop failure, the flyman was prepared to grid the bar to loose the cloth.
There were 2 people located either side of the stage (4 in total) who pulled the cloth into the wings as quickly as possible to strike it.
An issue to note is that due to air pressure changes between FOH and Backstage, the cloth will bow and curve unto 2m US or DS. It may be worth noting to the LD not to put LX on the FOH pros bars, as during the drop it may catch...
Along with the main kabuki, there were also 2 nazi banners located above the audience FOH. These proved to be challenging, however worked flawlessly for every performance.
Due to the nature of the Ath, we could not use motors or truss for where they wanted the drops. Instead we used hemp and scaff, with some snatch blocks.
We cut the ties of the banners, and installed 3 eyelets in each at the top. We then built a standard pin drop kabuki, and tested it.
Once that worked, we added a second roll drop. The concept being: Drop 1 would be a roll drop, and would unfurl the banners over the audience. Drop 2 would occur at interval, and would release the banners to be lowered on a single line to the stage.
At interval, the TSM, DTSM & a member of crew would go FOH and kindly ask the audience to leave the front seats. This was just incase when the banners lowered, they flew slightly into them. Once done, the TSM would go on cans and cue the second drop to the operators. Once the 2nd drop was complete, the operator would then lower the kabuki cloths to stage level, where they were folded by the floor crew then taken backstage.
As they cloths were heavy, the bar tended to sway when launching the kabukis. Therefore, tension wires were installed to keep the bar steady. The units have a loud thud when firing, which added to the effect.
The banners were then laid out in the scene dock flat, so the paint did not crease and peel.
For the reset, the hemp bar would be lowered, and the rolled drops attached.
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.
The URL or file path SceneChanges.pdf does not exist.
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 Plan
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.
Equipment List
Gel Call
Practical's Explained
Running Lists
Sound
Stage Management
Settings List
Props List