Magic Flute 2012

Magic Flute 2012
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Magic Flute Creative Director William Relton Conducted by Timothy Dean Set Designer Cordelia Chisholm Lighting Designer Alexander Ridgers Stats Venue New Athenaeum Tech Week 22nd May '12 Performance Dates 9th - 14th June '12

Crew

Production Manager - Lynfryn MacKenzie

Stage Manager - Dougal Gudim

Deputy Stage Manager - Marian Sharkey

Assistant Stage Managers - Elleanor Taylor, Jane Paterson

Set Designer - Cordelia Chisholm

Lighting Designer - Alexander Ridgers

Sound Designer - Blair Omond

Technical Stage Manager - Fiona Nisbet

Deputy TSM - Rebecca Coull

Head Flys - Melissa MacDonald

Production Electricians - Fraser Walker, Christopher McIntyre

Electrics Crew - Oliver Gorman

Lighting Operator - Sam Cunningham

Sound Operator - Blair Omond

Technical Crew - Ben Terry, Andrew McCabe, Jennifer Howes, Ashley Kerray

Set

Doors

A major part of the set, are 8 doors, which were flown in quite a few different scenes, sometimes moving throughout. In act one, some needed moved together, and in act two they all had to move independently, which required a few bar changes at the interval.

Trap Doors

Originally the trap doors were going to open upwards, for safety reasons. But after risk assessing the traps were built to open downwards like the designer imagined. There were 8 traps cut into the rake and one operator was needed for each pair. In act one teddy bears came out through the holes, and in act two it was baby dolls.

To make the traps safe for performers to be on the rake, each trap has a flat bolt flat that slides under each opening, to unsure that they didn't open in a different scene.

Falling Pigeon

During the first Act, a dead bird was to fall from the grid. To do this, I used the same kabuki method as Aladdin Panto 2011, but made it far shorter so that only two pins were needed, and asked the props department to add some loops onto the pigeon.

Nooses'

In Act 2 five nooses were to drop from the grid as quickly as possible. To do this, the nooses were made from hemp so that a single point could be run from the fly floor through a header block on the grid and then straight down to the stage where the noose would then be tied into it.

There was always a worry that the noose wouldn't be enough weight for the line to run quickly on it's own, so 6m above the knot, a few key clamps were shackled onto an alpine butterfly to add extra weight, and make sure it ran in like it was being dropped.

Props

The making of the Magic Xylophone