Lear and Othello

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Lear and Othello
Summary
Dates 24th -27th Jan 2023
Performance Course Second Year BA Acting
Location Chandler
Creative Team
Director Ali De Souza
Designer Kirstin Rodger
Sound Designer Nommy Soplantila
Lighting Designer Dominic De Mountfalcon
Production Team
Stage Supervisor Toby Cass
Deputy Stage Supervisor Rory Campbell
Stage Manager Zoe Peebles
Deputy Stage Manager Jordan Alsoudani
Assistant Stage Managers Lara Cassidy, Saul Johnstone
PLX Joshua Brown
LX Programmer/DPLX Jamie Burke
Production Sound Engineer Nathan Farndale
Technical Stage Technicians Daniel Barclay, Ana Carolina Sabino
Lighting Technicians Jamie Partridge, Alastair Souch, Danny Taggart
Sound Technicians Paola Soliz, Pim Unhasuta

TSD

This show was a fairly simple design with some little special effects for TSD.

Kabuki Drop

The centre section of the back cloth had to drop at the end of Act 1. We achieved this by creating a revolving conduit pipe, held inside staff pipe. The conduit then has many M6 threaded bars along which create the rigging 'hooks' for the cloths. The mechanism to revolve is made from pulleys that create a loop from the kabuki to the operator and back. This allows tension to be kept in one direction, and releasing to happen in the other.

Kabuki Drop Video Link

Feather Drops

There were multiple deaths during Lear and each time someone died it required a red feather to fall from the 'sky'. This could have been achieved by dropping manually from the catwalk, but this would require crawling silently back and forth quite quickly in order to hit each position in time. Therefore, we turned to a 'duck drop' method. I decided to go with an electronic system that I designed and created using 3D printing and solenoids. There were 8 drop units each running on their own channels to allow for individual control of all 8 feathers.

Single Feather Drop Video Link

Double Feather Drop Video Link

Chandelier

The chandelier had to be removable at the interval, LX also had cables running to it since it was a practical. The solution used was to rig the chandelier on a 4mm cord which then passed through multiple diversion pulleys off to the control rooms. This allowed an operator to unclear the cord and lower the chandelier into a crew member ready to receive on stage. There was also an effect that had to shake the chandelier violently, this was achieve with a second thin cord about 500mm below the pulley which would allow the fixture to swing left and right as well as up and down using the original rigging line.

GroundPlans

Sound

Speaker Plans

Speakers

The speakers used on this show were;

- D&b C7s (Subs, Orange on plan)

- KV2 ESD 12 (PA L, PA R, Blue on plan)

- KV2 EX 6 (Rear FX, Delays, Green on Plan)

Mics

The mics featured on this plan are Rode M5s, which are highlighted as pink boxes.

SFX Plans

This was the initial SFX plan formed following the first stages of tech, This would soon become more advanced as the production continued.

Mics

Two Rode M5s were rigged two the catwalks via a crossbar. These were used during key moments to add reverb and delay to the room, making each movement of actors (as well as dialogue) sound like it was part of a larger room, or when paired with SFX, to sound strange and otherworldly.