Innerspace 2020
| Template:INNERSPACE 2020 | |
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| Summary | |
| Location AGOS
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| Creative Team | |
| Lighting Designer | |
| Sound Designer | |
| Projection Designer | |
| Production Team | |
| Production Manager | |
| Stage Manager | |
| Lighting Programmer | |
| Head Of Stage | |
| Head of Flys | |
| Projection Operators | |
Overview
Technical Stage Department
The Team
Head Of Stage Scotty
Head Of Flys Tom Sedgwick
Stage Technicians Scotty, Tom Sedgwick
, 
The Set
With no budget, our team had to work with what was already in the space. As there were already 3 strips of black dance floor we decided this would be our "performing area/ stage." Due to Covid - 19 restrictions, we had to minimise how many people we had on stage at one time and be aware of our max capacity in the venue. We decided that two of our team would take one act each performing as the "player."
Masking
To achieve the set we used two 4x8 legs tied directly on to the LX bars as this meant no need for hanging bars as we only had one day to "fit-Up"
Weekly Break Down
To help show each member of the team the tasks to be completed and when a document was produced by the Head Of Stage detailing all the activities and would be carrying them out. This would also help with tracking our progress over the fit up to see how we were working with the available time.
Ground Plan
Legs There was two front cloths for this show one that would fly up and down and another that would slide with a center stage split. The sliding cloth would have a hard masker as a leading edge so using one track we had to make sure that when it was full open the maskers were off stage. All the components that would be used to make this work were drawn up and added to a vectorworks drawing to give an accurate representation of what would be put up on the stage.
Projection Screen There was a sliding back wall panel that to track Stage Left in the middle of Act 3 as discreetly as possible. The wall would be set up in a dead hang system with our Flyman as the operator. Using a series of pulleys, the lines would be diverted to the Flyfloor for our Flyman to pull down. This would trigger a weight bag that we have put below the ladder on Stage Left to lower and pull the wall panel with it. The panel will be tracked and there will be a guide attached to it at the top. he guide will be a wire rope tensioned across two of the pillars on the back wall with a tirfor winch. The wall will be attached to this guide using a screw eye that will be placed in the top of the wall panel. The Vectorworks drawing that compliments this description has been added for perusal, giving a concise representation of what we would have built onstage.
Equipment
Two kit lists were produced for the stage department for this show, One of them was for flys and automation with the other for the stage. Having two lists helped to split up who was needing what equipment and also saved issues if we both tried to makes updates at the same time. The lists have been broken down into section that they should be prepped as and labelled making it easier when fitting up on the stage.
Health And Safety
Pre Show Checks
With all 4 team members having different tasks during the pre show time everyone had a different list with all moving aspects of the show needing checked fully. Meaning all revolve cues would be run daily before each show to test it as it would be run but also for the operator to get the feel of the control. We also needed to check all flying and automation pieces along with the sliding back wall panel and the various parts to that.
Flys & Automation
Head of Flys & Automation Darren Wilson
The show has very little flown aspects to it, with the majority of counterweight bars being used for the LX overhead rig. The only flown element during the show is a Full Black downstage.
As part of the LX design it was requested that there be a truss flown above the revolve, due to the size of the required truss it was decided the truss should be flown on 4 Big Tow winches as the truss was too small to drop chain hoist points down the grid wells and we wanted to avoid removing grid panels and bridles. The LX truss had to be dead hung from a mother grid (with the mother grid being flown on the Big Tow winches) as we couldn't get the 2 downstage points of the LX truss with the winches due to the no fly zones. Above the Mother Grid there will be a Counterweight bar that will be attached to the LX truss with a drift and some half couplers with eye bolts, this is for the cable run, 2 extra weights will be put in the cradle and the brake will be let off to allow the bar to run in and out when the LX truss moves on automation.
There is a 16.5m truss span downstage that holds the track for the sliding masking. The truss is rigged on 4 Loadgaurd chain motors and is strapped of the fly floors.
There is also a 5m FOH truss rigged of catwalk 1.
Flys Bible
Automation Plot
Action Plan
Points Plan
Points Master
Grid Plan
Stage Management
The team
Stage Manager: Thomas O'Hear
Production Manager: Lauren Murison
The work of the department was based around this RCS’s production (mainly for the sourcing of props and creating risk assessments) and a DVD recording of a different production (blocking, cueing, entrances and exits plots, setting- and running lists). More detail will be given on the RCS production, but example of documents created from the DVD can be found below.
Props
Most of the props could be sourced from RCS's own props store or with the help of NTS and Scottish Opera. Church items such as thuribels were previously borrowed for Glory on Earth, so could hopefully be used again. A lot of the church props would makes by the props department anyway. A lot of time was spent trying to think of different ways to make and source things instead of just jumping on the first link and buying it. An example for thinking outside the box, is How To Make A Fake Brick. Instead of buying a brick or a fake brick, the ASM thought about ways to make one that could be thrown safely while still being safe and made a mock-up of their idea with what they had laying around the house.
Risk Assessments
This was a fairly low-risk production with the main risk being the revolve. Other risk assessments were written for food an liquid, glassware and naked flame.
(INSERT RISK ASSESSMENTS HERE JESS)
Other documents
Sound
The Plan-
For this show the biggest problem faced was getting equal coverage across space in the AGOS. We flew two speakers 2m of the centre stage either side on the LX bars
Comms
The AGOS has its own comms box which Scotty and Tom Sedgwick patched and tested during fit up, 4 headsets and 1 spare
Lighting
Design
LX Design key features include
Stage Management
Lauren and Thomas decided early on instead of calling and= act each Thomas would act as DSM and Lauren would assume more of a production manager role