The Wonderful World of Dissocia 2023

The Wonderful World of Dissocia 2023
Summary
Dates 08-11-2023 - 10-11-2023
Performance Course Third Year BA Acting
Location New Athenaeum
Creative Team
Director Finn Den Hertog
Set Designer Callum Owens
Costume Designer Glenn Parkinson
Sound Designer Nommy Soplantila
Lighting Designer Kai Fischer
Production Team
Head of Stage Noah Dunnett
Deputy Head of Stage Nathan George
Head of Flys Jamie Partridge
Stage Manager Rebecca Munro
Deputy Stage Manager Zoe Peebles
Assistant Stage Manager Saul Johnstone
Assistant Stage Manager Vanessa Yi Heng Lam
LX Programmer Eoin Beaton
PLX Dave Evans
Lighting Technician William Sheils
Sound No.1 Ana Carolina Sabino
Production Sound Engineer Daniel Barclay

Technical Stage Department

"The Wonderful World of Dissocia" contained several challenges for TSD. The act 1 set consisted of a patchwork of carpets,a walkup trap and a 6000x4860mm flat that needed to fall at the end of the act. The act 2 set consisted of 3 steel deck trucks and a roof piece which came together to create the psych ward, this was then completely boxed in with black masking.

Falling Wall

At the end of act 1 the designer requested that the large sky flat at the back would fall leaving behind only a door that an actor would then step through.To do this we used a rather simple approach relying mostly on pin hinges. The falling wall was made of 3 separate flats meaning care had to be taken to avoid the flat flexing and being damaged as it fell.To do this we installed two strengthening battons on the back of the falling wall, one near the top and one near the top of the door section.We then attatched 4 french braces to the back of the flat, these where what held up the flat during the show until it was time for them to fall.These braces came from the RCS stock and are usually used for hard masking. The wall was then walked up by a team of 7 and moved into position. 4 opera pin hinges where then screwed into the bottom edge of the front face of the flat and then into the floor, these where to keep the wall from moving forward as it fell.Another 4 opera pin hinges where then screwed into the french braces and the floor, these held the wall upright until it was time for the fall.

To operate the fall two crew members would enter from a gap in the void to behind the wall, on stage managements cue they would remove the pins on the hinges connecting the french braces to the floor, they would then stand on the braces until they were given the "Go". On the "Go" they would step off the braces,give a coordinated push on the back side of the flat to start the fall and run back into the void to avoid being seen by the audience. With this method once the wall starts falling there is no way of stopping it. For this reason there was a safety zone planned with an extra 1m buffer to keep the performer who was standing at the front of the stage safe.The stage manager would not give clearance for the pins to be pulled prior to the performer moving into this zone.

To reset the wall,7 crew members were required.4 were needed to walk the wall back up,with 2 pulling on the braces for assistance and at the ready to put the pins back in. The additional member was the stage supervisor who would call the lift and give assistance on the braces.

Lighting

Lighting for the Wonderful World of Dissocia had several unique challenges on this version of the production. The first to look at is the flying pendant light fixture which had to be installed on the auditorium side of the proscenium arch. To achieve this, a system of pulleys and wire rope fairleads was used to allow both the control line for the pendant, and the power cable to move, and lower in/raise out the pendant. The Basic idea would be to utilise a hanging pendant light and have this rise and fall:
However it would need controlled via a rope from somewhere off stage:
With this in mind a system would need to be installed within the Athenaeum gods to accommodate the rigging, and ensure that the control line for raising and lowering could be run into the ONSTAGE side of the proscenium or to somewhere it could be operated without needing a person in the Gods. To do this, the control line was routed into the cupboard just off the entrance into the Fly Floor.

The rigging would be relatively conventional and just need to have a support arm in scaff from the catwalks, as well as an upright scaff to support a tension line:

To ensure that the cable powering the pendant could be flown in and out smoothly, along with the physical pendant, the cable was was supported by swing cheek pulleys which ran along a tensioned steel wire rope:

The final installation allowed the pendant to easily fly out as part of a cue, and then be lowered in for the Act 1 reset. The physical rigging looked like this:

• 
  Tension Line
• 
  Pulleys
• 
  Upright Pole - Note the wire rope fairlead diverting the control line
• 
  Top view - Note wire rope fairlead