Spring Awakening
| Spring Awakening | |
|---|---|
| |
| Summary | |
| Dates 10th March - 24th March 2018
| |
| Performance Course Third Year BA Musical Theatre
| |
| Location New Atheneum Theatre & Dundee Rep Theatre
| |
| Creative Team | |
| Director Andrew Panton
| |
| Associate Director/Choreographer Anwar Russel
| |
| Designer Kenneth MacLeod
| |
| Musical Director Robert Wilkinson
| |
| Sound Designer | |
| Lighting Designer | |
| Assistant 'Lighting Designer | |
| Production Team | |
| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Manager | |
| Assistant Stage Manager | |
| Assistant Stage Manager | |
| Technical Stage Manager | |
| Stage Supervisor Dundee | |
| Head of Flys | |
| Assistant Technical Stage Manager | |
| Assistant Technical Stage Manager | |
| Assistant Technical Stage Manager | |
| Head Electrician | |
| Lighting Programmer | |
| Lighting Crew | |
| Lighting Crew | |
| Lighting Crew | |
| Sound No.2 | |
| Sound No.2 | |
| Sound Crew | |
Team
Overview
Spring Awakening is a rock musical with music by Duncan Sheik and a book and lyrics by Steven Sater. It is based on the German play Spring Awakening (1891) by Frank Wedekind. Set in late-19th-century Germany, the musical tells the story of teenagers discovering the inner and outer tumult of teenage sexuality.
Following its conception in the late 1990s and various workshops, concerts, rewrites and its Off-Broadway debut, the original Broadway production of Spring Awakening opened at the Eugene O'Neill Theatre on December 10, 2006. The original Broadway production won eight Tony Awards, including Tonys for Best Musical, Direction, Book, Score and Featured Actor. The production also garnered four Drama Desk Awards, while its original cast album received a Grammy Award. In addition, the show was revived in 2015 on Broadway and garnered three Tony Award nominations, among other honours.
The success of the Broadway production has spawned several other productions worldwide, including various US productions, a short West End production that won four Laurence Olivier Awards including Best New Musical, and a series of international productions. [1]
Musical Numbers
- Act I
- "Mama Who Bore Me" – Wendla
- "Mama Who Bore Me" (Reprise) – Girls
- "All That's Known" – Melchior
- "The Bitch of Living" – Boys
- "My Junk" – Girls and Boys (Except Ilse)
- "Touch Me" – Boys and Girls
- "The Word of Your Body" – Wendla and Melchior
- "The Dark I Know Well" – Martha, Ilse, Boys
- "And Then There Were None" – Moritz and Boys
- "The Mirror-Blue Night" – Melchior and Boys
- "I Believe" – Boys and Girls
- Act II
- "The Guilty Ones" – Wendla, Melchior, Boys, and Girls
- "Don't Do Sadness/Blue Wind" – Moritz and Ilse
- "Left Behind" – Melchior, Boys, and Girls
- "Totally Fucked" – Melchior and Full Company (except Moritz)
- "The Word of Your Body" (Reprise) – Hänschen, Ernst, Boys, and Girls
- "Whispering" – Wendla
- "Those You've Known" – Moritz, Wendla, and Melchior
- "The Song of Purple Summer" – Ilse and Full Company
Cast
Max Alexander-Taylor, Casey Anne Apregan, Edward August, Ross Baxter, Louise Duff, Meg Forgan, Grace Galloway, Felicia Gray, Pia Hagen, Emma Harding, Luke Hickman, Barrie Hunter, Ann Louise Ross, Sarah Michelle Kelly, Cerys Lee-Jones, Callum Marshall, Charlie McCullagh, Chiara Sparkes, Bethany Tennick, Lydia White.
Stage Management
Furniture Stacks
The rear of the stage, in front of the band platform held a large furniture stack, spanning the width of the stage, and made up of three sections. Each section was made to be climbed on, and the centre section was also moveable. The contents of the stacks were formed of found furniture (largely borrows from schools and props stores). Pieces were re-enforced and connected in places to create a stable but still interactive stack (i.e. some pieces could be moved or removed, while others were fixed in place in order to be climbed on).
Stack in rehearsal room
Stack Building Guide
Risk Assessments
Stacks In Use
Rehearsal Room
Mark Up - we marked up the room in a fairly unusual orientation - valuing getting the full depth of the stage in over extensive wing space. This meant that areas such as the band platform and the apron (which would have been either cut off or uncomfortably close to audience in the case of the apron) were able to be used effectively prior to tech.
The Furniture Stacks were built (in their first incarnation) on day 1 of rehearsals, and were gradually edited, conjoined, and re-enforced as the show developed and the requirements were discovered.
We over-sourced furniture (particularly gym equipment) in order to allow space for the team in the rehearsal room to decide what they would and would not like to use over the rehearsal process.
Props List
We kept a working props list on dropbox - editable by all members of SM team
(Props List)
Prop Sourcing & Management
(Prop Borrow Summary)
Candles
Real Candles were used in this production. These were lit by Ilse from a wax taper during "I Believe". These were then left on stage throughout the interval and blown out in "Guilty Ones" (top of act 2). To spare the necessity of flam-barring all costumes, round glass tea light holders were used, with sand to stop the glass heating up.
(Risk Assessment)
Show Running
(Master Settings Lists)
(Running List)
Safety
Stage Induction
Technical Stage Management
Groundplan
TSM Groundplan
TSM Ath Markout
Set Elements
Band Platform/Pit
The band platform was USC. It was made of 6 8x4 steel deck (hired from G12) and a box built from flats (sides and top) with a welded metal window frame at the back. There was a hidden door SR to allow the band and cast to enter and exit out the back.
Static Climbing Frames
There were 2 main static climbing frame structures. These comprised of 2 frames facing US-DS, 2 frames acting as braces for these frames offstage and 2 frames facing SL and SR. This is mirrored on each side of the stage. All frames could be climbed on. The performers could secure themselves into the frames with Hand Loops that could be placed at specific areas. The frames were made from a mix of metal rungs and timber sides. They were each roughly 1000mm wide x 6000mm high. There were 2 metal braces on the top of the offstage frames. All of the offstage edges were also braced to the deck with wood.
Tracking Climbing Frames
Downstage there were 6 frames that were on fixed castors with an overhead track so that they could be brought on and offstage by the cast. The flown track was suspended from the bottom of a full stage span of HV30 truss. There was track on both the US and DS rungs of the truss. There were 4 (2 SL, 2 SR) frames on the US track and 2 (1 SL, 1 SR) frames that track on the DS. Each frame was 7000mm high to allow for masking of the truss and track. The track was EEE Unibeam and each frame was suspended off 2 Unibeam or unitrack upper heavy duty scenery carrier. The 5 4000mm length of Unibeam bought for The Jungle Book were used as well as 4 small section were borrowed form the Citz to extend the offstage of the track. The truss was ratchet strapped off to each fly floor to prevent movement. 11mm wide and 12mm deep grooves are cut into the floor to reflect each length of track hung from the truss. On the back of each frame was mounted a slider that fits into the groove to guide the frames on and offstage.
School desks
There were a total of 6 school desks used by the boys. Each desk is built to allow the performers to dance, stand, jump etc. on them. There are 2 castors on each desk allowing it to be moved like a wheelbarrow. The lid of each desk is practical allowing it to be flipped up. There was a panel of LED tape controlled by wireless DMX.
Furniture stack
In front of the band riser there was a large collection of furniture both sourced and adapted for the cast to climb on and hide props in.
Furniture truck
The centre area of the furniture stack was a truck. This truck is brought downstage for the song “I Believe”. It was kept in place by 2 drop bolts. It allowed at least 2 people to climb on it. The truck was controlled by the cast.
Masking
In the spirit of rock musicals there is very little masking. The SL and SR undersides of the band platform were masked. There are 2 1400x6000 hard masking flats either side of the stage. These flats are laced together and braced off upstage. This was to hide entrances and exists to the platform as well as quick change areas.
Floor
The floor was 6mm MDF and painted to resemble a gym floor. It was painted in a forced perspective way so that the US area of the floor is significantly smaller than the floor DS. There was second floor laid under it of scrap 6mm MDF to allow for a 12mm deep groove for the tracking frames as well as drop bolt holes for the furniture truck. Each board of sub floor was laid with one screw in the DSC edge. In the Ath the floor was laid from the setting line up/down. When the show was transferred to Dundee the floor was laid from the tracks up/down. This allowed the grooved to be placed directly below the overhead track.
Show Elements
Flown Dress
At the top of the show during the song “Mama Who Bore Me”, Wendla was meant to put on a “floating fairy dress” onstage. The dress had to look like it was suspended by magic. There were 2 magnets sewn into the dress and 2 nuts ties on to lines of fishing line tied to a fly bar. We found for the weight of dress M8 at the end of the fishing wire supported the dress. Read more on the page Flown Costume.
Flown Swings
There were 4 swings used in “My Junk” by the cast. The swings, with performers on them, were flown about above head height while a scene happens below them. The performers were sitting down and were secured with Hand Loops. Automation (Stage Technologies Bigtow winches) were be used in Glasgow and Kinesis Liftket in Dundee, borrowed from Scottish Opera. The swings are positioned DS of the Tracking Frames. More information on the page Swing.
Performer Flying
There is a human counterweight flying/falling sequence with the suicide of Moritz. This was controlled offstage manually by the TSM Team. Read more on the page Performer Flying.
Raining locker truck
There was a truck of Victorian style lockers that was intended to be used to mimic a shower effect when the doors are opened. The effect was cut during tech due to the sight lines. Read more on the page Rain.
LX boom “trees”
During the scenes in the forest were 6 scaff bars that were flown in with 2 green par cans on each. The scaff bars were all aluminium connected to the fly bars by bolting through a barrel clamp.
Flown Blackboard
The “blackboard” was a flat painted to look like a school blackboard. This flat was hung in front of the band riser to entirely cover the front. It was used to hide and reveal the band as necessary. The board was brailed upstage to prevent light spill from the band platform.
Climbing Frames
In order to refer to specific frames onstage and in paperwork a notation plot was created.
Safety
We brought Mark Gibson from Aerial Edge as a consultant on the climbing of the frames as well as the swings and the Performer Flying.
Mark gave the notes below after the first day onstage with the cast.
Taken from the notes from Mark above, this is a quick reference of what rungs on the frames refer to which notes.
Sliders
The climbing frames had sliders that guided along the groove cut into the stage. This kept the fixed castors from wandering. In Glasgow the sliders were simply pieces of 9mm Birch ply cut to size and screwed into the back of the frames. We had a lot of trouble with the frames jumping out of the track and getting stuck onstage or offstage.
Not listed in the notes above was during the first dress a frame got stuck onstage which caused a show stop during an open dress. TSM had to go onstage with a gun and fix the frame by taking off the slider moving the frame into place and re-attaching the slider.
We knew the Ath was a very flat stage but couldn't guarantee the same in Dundee. W needed to find another solution for the sliders in Dundee. Basically we would need something that had play in it to allow for a higher or lower stage. The solutions came in the form a some metal and small bungee. Since these were installed there no more problems with the frames and they also required no tools to fix if the slider jumped out of the track. The cast members would have been able reset the slider in the track without disturbing the action onstage.
This render shows the 2 components of the slider. The slider sections (right) is made of 6mm machined steel with a second 6mm section welded to the bottom this allows for gravity to do the job for us by keeping the heavy section in the track. This can also be reversed with the thicker side on top if a thinner track is required.
Red lines show the positions of the bungee cord to help keep the slider in the track.
Truss
This drawing shows the truss built for the track. Each side coming up was to ratchet strap it to each fly rail. There were 3 ratchet straps on each side. One 2 ton strap going directly offstage and 2 smaller ones, one going upstage and one going down stage. This worked really well.
Photos
-
Carrier bolted to the top of the frame. -
Wheel in Dundee off the ground at offstage position. CS they were touching. -
Frames predrilled and coach screwed to the floor. -
Truss strapped to fly floor. -
Malki adding Citz track.
Trees
In order to make the trees fly, we had to find a way to rig them so they hung straight and did not spin. We split the 6 trees on to two bars.
Rigging
Each tree composed of 1 x 6000mm aluminum scaff pole and 1 x 1500mm aluminum scaff pole. These were joined with a long scaff joiner. We drilled through 2 holes in the joiner and bolted through. 2 grub screws were then tightened in the holes that had not been drilled. This allowed the bars to be safe to fly as well as tight. Each had a barrel clamp bolted to the top of the 1500mm length of scaff. The poles were attached to the to the fly bar loosely. With one person on the end of each tree, the fly bar was flown out slowly and the tress were walked up to keep the fly bar straight. In access equipment someone would go along the bar with someone at the base of the trees holding it straight and the person up the access equipment to tighten the bolts of the barrel clamp. NOTE: both all the bolts had to be loosened at least a little bit in order to adjust the trees.
Read above details. PDF is not up to date.
Scene Breakdown
Checklists
Final version of show checklist used every day.
Loop plot used before every show.
Checklists for harnesses were obtained from the Petzl website. Petzl also has a document for both sport harnesses and professional harnesses that describe in depth how to inspect and recognize faults in their harnesses.
Completed checklists below for the Harnesses.
In this PDF you can see a change in the inspection where the straps of the getting creased from wear.
Flys
Dundee
When touring Spring awakening to Dundee this meant minimising most of the set. The floor had to be cut, and the depth of the stage was a lot smaller compared to the RCS. This is including the wing space within the Dundee Rep Stage. As you can see in the diagram below that everything had to be moved forward to account for the tight space in this venue. We also changed a few things flying wise to account for it being a tidier looking show. (Full black on bar 28) made so much of a difference when looking at the show from the stalls.
Attached below is the power plan for running in the kinesys motors for swing action happening. The power for this came out of the light art rack - power lock that ran directly into the Array PDS. With lighting having to use most of the power capacity, we then ran the motors from a 32A 1Phase, that was controlling the track motors. Once this was ran in and in position, lighting then required the 32 single for motor of their plan.
Lighting
Crew Members
PLX: Euan Odd Programmer/DPLX: Stephen Keenan Lighting Techs: Peter Goddard, Andrew Lynch, Jamie Murray
The show was theoretically very simple however due to a few technical reasons with bar loading it became a bit of a hassle. I have attached several plans of the show and some lists of cable and quantities of lights that were used. There were no major technical challenges in terms of unusual rigging or power runs.
https://www.dropbox.com/sh/8mt4jfidns9s6l2/AABLWefm9nVrm3Zc-67kcbYOa?dl=0
Sound
Input List: SPRING AWAKENING INPUT LIST V1.0 Desk Input No. Band SD-Rack Radio FOH Instrument Mic or DI Stand Phanto SD-Rack Local I/O m 48v
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
33 1 34 2 35 3 36 4 37 5 38 6 39 7 40 8 41 9 42 10 43 11 44 12 45 13 46 14 47 15 48 16 49 17 50 18 51 19 52 20 53 21 54 22 55 23 56 24 57 25 58 26 58 27 60 28 61 29 62 30 63 31 64 32 65 33 66 34 67 35 68 36 69 37 70 38 71 72 73 74 75 78 79 80 81 37 82 38 83 39 84 40 85 41 86 42 87 88 89 90 91 92 93 94 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER PEFORMER ROAMING BAND ROAMING BAND ROAMING BAND ROAMING BAND ROAMING BAND ROAMING BAND ROAMING BAND ROAMING BAND KICK IN KICK OUT SNARE TOP SNARE BOTTOM RACKTOM RACKTOM FLOORTOM HI-HAT RIDE OVER HEAD LEFT OVER HEAD RIGHT TOYS SPD1 SPD 2 SPD 3 SPD 4 PERCUSSION 1 PERCUSSION 2 PERCUSSION 3 PERCUSSION 4 BASS GTR DOUBLE BASS GTR STEEL ACC GTR NYLON ACC GTR 12 STRING ELECTRIC GTR KEYS 1 LEFT KEYS 1 RIGHT KEYS 2 LEFT KEYS 2 RIGHT VIOLIN 1 VIOLIN 2 VIOLA CELLO BAND BOX AMB L BAND BOX AMB R PROS AMB LEFT PROS AMB RIGHT QLAB 1 QLAB 2 QLAB 3 QLAB 4 QLAB 5 QLAB 6 QLAB 7 QLAB 8 FOH IPOD L FOH IPOD R MD TALK LINE ONSTAGE TECH TALK LINE FOH TALK LINE ANDREW GOD MIC DRUM PLATE LEFT DRUM PLATE RIGHT BAND VERB LEFT BAND VERB RIGHT CAST VOCAL PLATE LEFT CAST VOCAL PLATE RIGHT CAST ROOM VERB LEFT CAST ROOM VERB RIGHT Shure RF 1 Shure RF 2 Shure RF 3 Shure RF 4 Shure RF 5 Shure RF 6 Shure RF 7 Shure RF 8 Shure RF 9 Shure RF 10 Shure RF 11 Shure RF 12 Shure RF 13 Shure RF 14 Shure RF 15 Shure RF 16 Shure RF 17 Shure RF 18 Shure RF 19 Shure RF 20 Shure RF 21 Shure RF 22 Shure RF 23 Sennhiser G3 Sennhiser G3 Sennhiser G3 Sennhiser G3 Sennhiser G3 Sennhiser G3 Sennhiser G3 Sennhiser G3 β91a Audix D6 Beyer M201 e904 e904 e904 e904 RODE M5 MP AKG C3000 C414/AT2020 C414/T2020 AKG SK91 DIDN200 DI DN200 DI DN200 DI DN200 AKG SK91 AKG SK91 AKG SK91 AKG SK91 DI BSS DPA 4099 DI BSS DI BSS DI BSS e906 DI DN200 DI DN200 DI DN200 DI DN200 DPA 4099 DPA 4099 DPA 4099 DPA 4099 Rode NT1-a Rode NT1-a AKG CK98 AKG CK98 DI DN200 DI DN200 Switched Switched Switched Sennhiser INTERNAL INTERNAL INTERNAL INTERNAL INTERNAL INTERNAL INTERNAL INTERNAL N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A 48v Kick Short Boom N/A N/A N/A N/A CLAMP* 48v LP CLAMP* 48v CLAMP* 48v CLAMP* 48v Short Boom 48v N/A N/A 48v N/A 48v N/A 48v Tall Boom 48v Tall Boom 48v Tall Boom 48v Tall Boom 48v
N/A
C lip N/A N/A N/A Z-Bar N/A 48v N/A 48v N/A 48v N/A 48v C lip 48v C lip 48v C lip 48v C lip 48v Tall Boom 48v Tall Boom 48v CLAMP 48v CLAMP 48v N/A N/A N/A N/A N/A N/A N/A N/A N/A 48v N/A 48v N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A N/A 48v 48v 48v 48v 48v
1 2 3 4 5 6 7 8
SM58 SM58 SM58
G3 H/H FX FX FX FX FX FX FX FX
3 Output List: SPRING AWAKENING OUTPUT LIST V1.0 Output Name Bus
Nano SD-Rack Output
Band SD-Rack Output FOH Local Output Amplifier / Headphone amp Speaker /IEM
Main Left Matrix 1 1
d&b Audiotechnik D6 d&b Audiotechnik E12
Main Right Matrix 2 2
d&b Audiotechnik D6 d&b Audiotechnik E12
Main Upper Left Matrix 3 3
d&b Audiotechnik D6 d&b Audiotechnik E8
Main Upper Right Matrix 3 4
d&b Audiotechnik D6 d&b Audiotechnik E8
Center Qi7 Matrix 4 5
d&b Audiotechnik D6 d&b Audiotechnik Qi7
Center CSA Q-Sub Matrix 5 6
d&b Audiotechnik D12 d&b Audiotechnik Q-Sub
Lower Sub Matrix 6 11
d&b Audiotechnik D6 d&b Audiotechnik C7-Sub
First Delay Matrix 8 7
d&b Audiotechnik D6 d&b Audiotechnik E0
Second Delay Matrix 9 8
d&b Audiotechnik D6 d&b Audiotechnik E0
Front Fill Matrix 10 9
d&b Audiotechnik D6 d&b Audiotechnik E0 Rear FX Matrix 11
10
d&b Audiotechnik D6 d&b Audiotechnik E0 USR Cast Mon Aux 1
1
d&b Audiotechnik D6 d&b Audiotechnik E3 USL Cast Mon Aux 2
2
d&b Audiotechnik D6 d&b Audiotechnik E3 CSR Cast Mon Aux 3
3
d&b Audiotechnik D6 d&b Audiotechnik E3 CSL Cast Mon Aux 4
4
d&b Audiotechnik D6 d&b Audiotechnik E3 DSR Cast Mon Aux 5
5
d&b Audiotechnik D6 d&b Audiotechnik E3 DSL Cast Mon Aux 6
6
d&b Audiotechnik D6 d&b Audiotechnik E3 MD Monitor
Aux 7 7
Genelec 802 Genelec 802
Strings Mon Aux 8 8
Genelec 802 Genelec 802
Drum Mon Aux 9 9
Headphone Amp N/A
GTR Mon Aux 10 10
Headphone Amp N/A
Bass Mon Aux 11 11
Headphone Amp N/A
Bird SFX Aux 12 11
d&b Audiotechnik D6 d&b Audiotechnik MAX 12
Signer IEM Left Aux 13 12
Sennhiser G3 IEM N/A
Signer IEM Right
Aux 14
14
Sennhiser G3 IEM N/A
Tech Chat
Aux 15
15
Headphone Amp
4
Microphone allocation:
Mic Pack No.
Cast Member Character Hair Colour
Microphone Frequency Coordination
1 Chiara Sparkes Wendla Brunette
Sennheiser MKE2 2
Sarah Michelle-Kelly Wendla Brunette
Sennheiser MKE2 3
Lydia White Ilse Brunette
Sennheiser MKE2 4
Pia Hagen Ilse Blonde
Sennheiser MKE2 5
Felicia Gray Martha Brunette
Sennheiser MKE2 6
Meg Forgan Martha Blonde
Sennheiser MKE2 7
Casey Anne Apregan Anna Brunette
Sennheiser MKE2 8
Cerys Lee-Jones Thea Brunette
Sennheiser MKE2 9
Bethany Tennick Ensemble Fair
Sennheiser MKE2 10
Emma Harding Ensemble Red
Sennheiser MKE2 11
Grace Galloway Ensemble Black
Sennheiser MKE2 12
Louise Duff Ensemble Blonde
Sennheiser MKE2 13
Max Alexander-Taylor Melchior Fair
Sennheiser MKE2 14
Ross Baxter Moritz Brown
Sennheiser MKE2 15
Charlie McCullagh Hanshen/Rupert Brown
Sennheiser MKE2 16
Edward August Ernst/Reinhold Brown
Sennheiser MKE2 17
Luke Hickman Otto/Ulbert Fair
Sennheiser MKE2 18
Callum Marshall Georg/Dieter Brown
Sennheiser MKE2 19
Barrie Hunter Male Adults Brown
Sennheiser MKE2 20
Anne Louise Ross Female Adults
Sennheiser MKE2
5
Switch On /Pre Show Procedure:
Your Responsibilities • Liaise with sound No.1 in turning on sound system, your roles will include turning on amplifiers and radio mic systems. • Battery up all radio mic systems. - Open door of radio mic and insert new battery - Power on system and ensure that the battery shows as being full - Take systems to mic racks and listen to them, ensuring they sound balanced and clear - Place microphone protectors onto the capsules. - Put microphones into appropriate dressing rooms. • Liaise with sound No.1 in a tap/line check round of all microphones in the pit. - Ensure that microphones are in the correct position - Ensure mic stand bolts are tight - Ensure cables are securely seated - Ensure cables are still securely taped. • Power Up Sound 2 Laptop - Ensure laptop is connected to ‘Ath Sound Network’ - Open and launch ’Messages from Radio World’ • At beginners call ensure correct mic placement of all cast members. - Remove the protective sheath from the microphone - Monitoring positions should continue throughout the show, in co- ordination with sound No.3
6 - You will have been given a bottle of hand sanitiser and a packet of chewing gum, due to being in close proximity to cast please ensure
upkeep of personal cleanliness. • Once all microphone positions are checked ensure that all radio mics have been heard - At this point please pass on ‘Act 1 Radio Clearance’ to DSM via cans and to Sound 1 via the chat client. - This should be repeated at the top of Act 2. - These steps are in place to ensure the show goes up with all mics working, should we need to hold the show... we will hold the show. • Run the show as per your personal running list, whilst also monitoring radio systems and microphone positions.
7
Power Down Procedure: Your Responsibilities • Go around the dressing rooms and collect the radio mics from the cast dressing rooms. - Remove the batteries from the packs and place in the battery box. - Mark the boxes as containing dead batteries
• Liaise with Sound No.1 in powering down the sound system
- Your responsibilities will include; Rack’s, Amps, and Microphone Systems - Power down the sound 2 laptop and secure in the control room. Crash Procedure: Your Responsibilities Should we get into a situation where we have a console crash where the desk is not passing audio then this WILL be a show stop situation. Should we need to stop the show you should follow the following steps. - On instruction from Sound 1 go to the sound corner in the void - Should it be necessary you will power down the amplifiers and then the SD Rack - After performing a rig check the Sound 1 will inform you if he is happy to continue with the show. - The show will then reset to the point where the stage manager is happy to continue from.
8
Photos
Photos can be found here.