Gilgamesh: Difference between revisions
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[http://www.flickr.com/photos/51592857@N04/ Flickr] set by [[Fiona Nisbet]] | [http://www.flickr.com/photos/51592857@N04/ Flickr] set by [[Fiona Nisbet]] | ||
[http://www.flickr.com/photos/rsamdfriends/sets/72157625304358606/ Flickr] set by [http://www.rsamd.ac.uk/ RSAMD] | [http://www.flickr.com/photos/rsamdfriends/sets/72157625304358606/ Flickr] set by [http://www.rsamd.ac.uk/ RSAMD] | ||
Revision as of 23:37, 12 December 2010
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Gilgamesh Poster
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The Seagull is the first A3 performance for the 2009/10 season at the RSAMD, Normally there is an Alternate A3 production in the Chandler Studio Theatre, this has been moved later in the year and will be performed at the Citz.
This performance of Chekhov's The Seagull celebrates the 100th anniversary of the first English-translated performance of a Anton Chekhov play. the original translation was written by George Calderon was commissioned by The Scottish Repertory Company and the first performance on 2 November 1909.
The action takes place on Sorin’s estate.
Two years pass between Act Three and Act Four.
Flickr set by Fiona Nisbet
Cast
Gilgamesh, a king Sam Spanjian
Enkidu, a wild man Robert Shaw
Shamhat, a harlot Tamara Donnelly
Hamman, Armourer, Councillor - Ben Allan
Guard, Ninsun, Lesbian Blacksmith, Humbaba and Doctor - Lynn Ferguson
Nedu, Transvestite, Councillor, Armourer, Priest and Anu - Andrew Marquardt
Harlot, Married Woman, Ishtar and Nurse - Emily Rees
Female Prisoner, Jester and Nurse - Rebecca Smith
Production Team
Stage Manager Laura Jarvis
Deputy Stage Manager Jamie Clelland
Assistant Stage Managers Ross Oliver, Samantha Burt
Technical Stage Manager Thomas Velluet-Draper
Production Technicians Iain Jolly , Simon Legg , Fiona Nisbet
Production Electrician Jonny Reed
Assistant Production Electrician Madeleine Hillmann
Electrics Crew Fraser Walker , Chris Gowling , Jonothan Towers
Technical Challenges
Gauze Tower
During the recent production of "Gilgamesh" there were few technical challenges that we had to overcome. The main challenge was to rig a gauze tower that hugged the set, could be rigged simply, had a sharp crease down the corner and could be flown live. We also had to come up with a way of rigging a bull so that it could be safely rigged, yet easily detached during the show by performers.