Little Shop of Horrors
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Photograph by Ken Dundas
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Technical Credits
Production Manager Dave Evans / Sam Ramsay
Stage Management
Stage Manager Ali Biggs
Deputy Stage Manager Jack Hirst
Assit. Stage Manager Jane Paterson
LX
Chief Production ElectricianSean Hind
LX Board OpBenjamin Terry
KIT LIST
- Selecon Acc. PC: 26 - Selecon Acc. Fresnel: 21 - Selecon Acc. Zoom 18-34: 1 - ETC S4 Jr Zoom: 9 - SL19 Profile: 4 - Par 64: 19 - Coda 500 Batten: 4 - Mac TW1: 4 - Mac Aura: 2 - LED Par: 4 - KK Wheel: 2 - Gobo: 2 - Birdie: 20 - Viper 2.6 Fog Machine: 1 - Le Maitre MVS Hazer: 1 - Tank Trap: 1 - Right Angle Clamps: 14 - 1m scaff: 5 - 8000mm scaff: 1 - 6000mm Scaff: 2 - 2000mm scaff: 2 - Strand 530i + 2 monitors
This production was oddly scheduled and a bit inconsistent in the way that the work was organised. The schedule constantly changed and there were many obstacles but we all pulled it together pretty well.
The LX rig was fairly straight forward and didn't present that many problems.
Stage
Technical Stage Manager Melissa MacDonald
Deputy Technical Stage Manager Jennifer Howes
Get in Crew First year PTM &PAD
Sound
Sound Designer / Sound No. 1 Blair Omond
Sound No. 2 Sam Cunningham
Sound Department Kit List
Control Kit
- Yamaha LS9 (32 Channel) - iMac with QLAB 2 - DigiDesign 003 Rack
Speakers and Amps
- 4x Tannoy V12's (Rigged on Catwalk 2, 2x Left and 2x Right, audience facing) - 2x Tannoy T40r's (On Catwalk 2) - 4x EV S200's (Cast Foldback, Rigged on Catwalk 2, evenly spaced, US facing) - 1x Fostex 6301B (USL Wing facing audience, for directional sound effects) - 4x Crown Micro Tech 2400's - 1x Tannoy TX2 System Controller - 2x Mackie SRM 150 Monitor Speakers (Wind Section and Percussion Section Monitoring) - 5x Headphone Amps (Personal Monitoring for - Keys 1, Keys 2, Kit, Bass and Guitar)
Radio Microphones
- 3x Shure UR1M Packs - 11x Shure UR1 Packs - 7x Shure UR4D Dual Receivers - 4x DPA 4066 Pink Headsets - 10x Pulse Pink Headsets
Radio Microphone Show Frequencies
All G1E Frequency Band, UHFR, 10mW Transmitter Power
- 471.600 MHz - Seymour - 473.525 MHz - Audrey - 476.650 MHz - Mushnik - 480.800 MHz - Orin - 482.325 MHz - Ronette - 484.175 MHz - Crystal - 502.175 MHz - Chiffon - 503.975 MHz - Audrey 2 - 506.500 MHz - Bernstein, Mrs. Luce, Skip Snip - 509.200 MHz - Ensemble - 526.650 MHz - Ensemble - 528.225 MHz - Ensemble - 528.550 MHz - Ensemble - 529.425 MHz - Ensemble
Microphones / DI Boxes
- 7x DI Boxes (Keys 1 Left, Keys 1 Right, Keys 2 Mono, Drum Kit Left, Drum Kit Right, Bass Mono, Percussion Electric Mono) - 5x Shure SM57's (Percussion Left, Percussion Right, Flute, Tenor Saxophone, Clarinet) - 2x Shure SM58's (Musical Director to Band Foldback, Sound Operator Foldback) - 1x Sennheiser E906 (Guitar Amp) - 1x Sennheiser E604 (Snare Drum)
Microphone Stands / Cabling
- 1x 16/4 Way Stage Box - 1x 24/8 Way Stage Box - 1x 8 Way Stage Box - 6x Boom Mic Stands - 3x Short Mic Stands - 5x Round Base Mic Stands - 1x 3M XLR Cable - 12x 5M XLR Cables - 11x 10M XLR Cables - 4x 1/4" Jack Cables - 1x Male XLR to 1/4" Jack Cable
Band
All of the band were located in the SR Wing under the gallery.
- Keys 1 / MD - Keys 2 - Drum Kit - Bass Guitar - Acoustic and Electric Guitar - Percussion - Electric and Acoustic - Trumpet - Clarinet - Bass Clarinet - Tenor Saxophone - Flute
Plotting and Operating
Sound for Little Shop was plotted from the seating bank. The show was fully plotted into scenes to make operating easier and avoid mistakes. After the 2nd Dress Rehearsal the control position for Sound was moved to the Gallery above the band. Allow still not ideal as it was above and to the side of the sound direction it did allow me to still hear the show, something which would have proved extremely difficult if I had been in the sound control booth.
Sound Challenges
Having a small studio space and a fully amplified cast and band made realising the director's vision and what was physically possible a particularly hard challenge.
'Call Back In The Morning' at the top of Act 2 was a particular challenging song for the sound operator. As well as having to mix the show and go through 7 scenes on the desk, the operator also had to cue 28 phone ring sound effects. These were not called by the DSM and were the full responsibility of the Sound No.1. This all had to be done by viewing a small monitor of the stage, the operator had to start the cue as written in his script and then stop each phone ring as it was picked up on stage all visual cues. With 28 rings in one song, this left no time to actually mix these sections of the show, this meant I had to make sure the show was perfectly programmed for these scenes to allow me to fully concentrate on the sound cues.
Technical Challenges
TSM
Storage
+ Creating space to store the Large puppet " Plant 4" and "Plant 3", the size of the puppets required us to use the area behind the dock doors as a storage area. This is frequently done buy hanging a small black ( 3mx4.5m) and masking it off as a small storage area. This has been marked as " Chandler Storage area black" and is located in the blacks store in the Ath.
+ The SL wing was masked off using cut down versions of the Sliders from Magic Flute 2012. These were attached to the red structural pillars by 2 screw eyes located at 1.5m from the floor, through these we attached sash and clove hitched the walls to the pillars.
To attach them to the floor we attached 4 pin hinges at floor level.
Flying in the Chandler
During the Renovation Scene three hanging baskets were flown in, these were evenly spaced to hang in line with the back of the rostra. Each was idividually operated by crew.
We rigged this using 2 pulleys per basket and sash.
The New Opening sign for the end of the Renovation scene was cloth streached over a timber frame - for this we used scrap wood from the scene dock and attached it with staples and spray mount.
For hanging the sign we used sash, screw eyes and pulleys
To Be cont.
Stage Management Sources
| Item | Source | Contact | Notes | |
|---|---|---|---|---|
Orin's Dentist Chair |
Dundee Rep | Company Stage Manager
Daniel Dixon 01382 342610 |
The designer wanted Orin's dentist surgery to look as if it was in a backstreet area and wanted the chair to look very old and worn. We found this dentist chair, along with another one that was not used as Dundee Rep Theatre | |
Orin's Gas Mask |
Pitlochry Festival Theatre | Ruth Alexander
Company Manager +44 (0)1796 484625 ruth.alexander@PitlochryFestivalTheatre.com www.PitlochryFestivalTheatre.com |
Pitlochry Festival Theatre had just finished one of their Rep Seasons and had put on Little Shop. They had a gas mask that they had manufactured for their production. We had to put down a £1000.00 deposit in case of damage. When we received it, the designer was not happy with how it look as it had be built very roughly. We carefully removed the bottle that was on the back and replace it with more suitable bottle sprayed silver, repaired some of the existing straps and done some general house work. | |
Telephones |
Pitlochry Festival Theatre | Ruth Alexander
Company Manager +44 (0)1796 484625 ruth.alexander@PitlochryFestivalTheatre.com www.PitlochryFestivalTheatre.com |
Pitlochry Festival Theatre had just finished one of their Rep Seasons and had put on Little Shop. They had several telephones that they had used for the "Call Back In the Morning" sequence in their production. | |
Flowers |
Pitlochry Festival Theatre
Perth Theatre |
Ruth Alexander
Company Manager +44 (0)1796 484625 ruth.alexander@PitlochryFestivalTheatre.com www.PitlochryFestivalTheatre.com 01738 472 700 |
Pitlochry Festival Theatre had just finished one of their Rep Seasons and had put on Little Shop. We were able to take advantage of this and borrow a large quantity of flowers. Perth Theatre was able to help with this also. | |
Til |
Citezen's Theatre | Natalia Cortes
Company Stage Manager 0141 418 6248 natalia@citz.co.uk www.citz.co.uk |
The Citz were able to supply us with an old til 1950's til. This was fairly heavy to lift. | Stage Managers |