The Bacchae
| The Bacchae | |
|---|---|
| |
| Summary | |
| Dates 4th & 5th November
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| Performance Course Third Year BA Acting
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| Location New Atheneum Theatre
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| Creative Team | |
| Director Finn Den Hertog
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| Assistant Director Speir
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| Designer Melania Cwynar
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| Movement Director Vicki Manderson
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| Sound Designer | |
| Lighting Designer | |
| Production Team | |
| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Manager | |
| Assistant Stage Manager | |
| Assistant Stage Manager | |
| Stage Supervisor | |
| Head of Flys | |
| Deputy Technical Stage Manager | |
| Deputy Technical Stage Manager | |
| Production Electrian | |
| Lighting Crew | |
| Lighting Crew | |
| Production Sound Engineer | |
| Sound No.2 | |
Team
Overview
The Bacchae is an ancient Greek tragedy, written by Euripides. The tragedy is based on the Greek myth of Prince Pentheus of Thebes and his mother Agave, and their punishment by the god Dionysos. The god Dionysos appears at the beginning of the play and proclaims that he has arrived in Thebes to avenge the slander, which has been repeated by his aunts, that he is not the son of Zeus. In response, he intends to introduce Dionysian rites into the city, and he intends to demonstrate to the king, Pentheus, and to Thebes that he was indeed born a god. At the end of the play, Pentheus is torn apart by the women of Thebes and his mother Agave bears his head to her father Kadmos.
Cast
Stage Management
File:Initial Props List Bacchae.xlsx
The stage management for this show produced new challenges under the current Covid climate, actors had to consistently social distance during rehearsals and contact with props had to remain limited. To combat this several inventive solutions had to be found. 2-metre markings were placed within the rehearsal rooms so the actors could be conscious of their spacing, on top of this hand sanitizer and wipes were placed around to allow cleaning in between scenes. The air circulation was kept clear by opening the door during breaks and props were only allowed to be touched by the actor using them.
Rehearsal Room and Covid
Rehearsal Occupancy
One of the main challenges in this new way of working, as a result of the pandemic, was occupancy levels. The building as a whole was assigned a maximum occupancy number as was each individual room based on a two/three meeter distancing. The occupancy rating for RS1 was 18 people. Pre Covid, creatives and production team alike could drop into the rehearsal room at any time to talk to the director, to drop off props or to watch the rehearsal or the run, but because of the maximum occupancy levels and for track and trace purposes this was no longer possible. I created a Rehearsal Occupancy document that stated the names and total number of people that were in the rehearsal room at any one time. It was essential that this was done the day before so that everyone who were supposed to be in rehearsals the following day was granted access on Asimut. As the DSM I created and oversaw the rehearsal occupancy.
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Points Plan
Points Master
Set
The set for this production consisted of six steel frame periaktois positioned on different parts of the stage. The shortest of these towers were positioned downstage and they were able to move about the stage on their own. We made this happen by using PTFE sliders on the apexes of the towers. The tallest of the towers were positioned upstage and were static. The last two towers were attached to the floor by an scaf pole which acted as an external pivoting point; these towers also moved around its pivoting point by using PTFE sliders. Since the 3M scaf pole that we used went through the stage floor and into the pit, we replaced the stage floor and the panels with trap infils with flange bearings on either side. This made the pivoting possible whilst providing a secure point for the towers to rotate around. Since the actors were climbing the towers using the ladders on the steel frames, there were several health & safety issues that needed to be resolved including preventing the tower from becoming top heavy when the performer climbed it, causing it to tip. For the downstage and midstage towers, we added extra weight to the bottom of the towers in between the top wooden base and the bottom of the steel frame. We used a combination of flyweights and sandbags to do this. The upstage towers utilized external bracing that was bolted into the floor.
Sound
Plans
PSE Cable Runs
File:Bacchae PSE Cable Runs v2021.pdf
Equipment Used
control
1 x Midas Pro 6 Sound Console
2 x Midas DL251 Stage Boxes (1 in control room, 1 in void)
1 x MacBook Pro (running QLab)
1 x Focusrite Pro 40 Interface
Speakers
2 x D&b E12 Speakers
4 x D&b E8 Speakers
2 x D&b Qi7
3 x D&b Qi-SUB
2 x D&b Max 12 Wedges
6 x D&b E0's
Radio Microphones
5 x Shure AD4Q Receivers
20 x Shure AD1 Transmitters
4 x Shure UHFR Receivers
2 x UR1 Transmitters
2 x UR1-M Transmitters
3 x UR2 HandHelds
Recording Setup
1 x Yamaha LS9
1 x Focusrite 18i20 (third Generation)
1 x MacBook Air (Running Logic Pro)
2 x Roland Cube Monitors