Doctor Faustus
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About
Doctor Faustus By Christopher Marlowe
Adapted and directed by Jennifer Dick
Summary
Doctor Faustus, a scholar, makes a terrible and terrifying bargain with the Devil. He will give up his immortal soul in exchange for 24 years of power and excess. Attended by the demon Mephistopheles, and a coterie of Fallen Angels, he embarks on a life full of indulgence, proud and unrepentant. A group of Good Angels accompany them, ever hopeful of saving Faustus from himself and the horrifying fate that awaits him if he cannot find penitence.
Technical Stage Department
Stage Management
Lighting
Sound
The sound team consisted of Sound Designer Lea Meloee, PSE Nicholas Ruebenacker and sound technician Ruby Noble.
Sound Design
The sound design for this production of Doctor Faustus was a close collaboration between Lea Meloee and director Jennifer Dick. The design can be described as cinematic and epic in its nature as it both enhanced and contributed to the telling of the story of the doomed Doctor Faustus. A number of songs and tracks were used. Most of these were lesser-known tracks from well-known movies, hence the cinematic feel. The repetition of some songs or tracks and sound effects created a recognizable pattern. "Faustus meets the great Lucifer [...] his words expressed through the unison of voices of the closely bonded fallen angels" ([1]). The arrival of Lucifer was achieved by recording the actors using Protools and editing the recordings, layering them and distorting them in Audacity.
PSE
For this production we used the in-house sound equipment that was installed within the Chandler Studio Theatre. This included:
- Yamaha QL5 Desk - x6 KV2 ESD 12 Speakers - Set of x2 KV2 EX1.5 Subs - x3 KV2 ESP 2000 Amps - Focusrite Saffire Pro 40 Soundcard - MacBook Pro installed with QLab software - x5 cue lights linked to DSM desk points 1-5 - x5 sets of cans
Speakers were positioned DSL, DSR, CSL, CSR, USL, USR with the subs sitting central on the 2nd catwalk. Cue lights were positioned at ASM positions USL, USR and DSR, and at both LX and SND positions. Cans were positioned at ASM positions USL, USR and DSR and at both LX and SND positions.