Contemporary Performance Practice Collaborations 17
| Production Team | |
|---|---|
| Stage Manager | |
| Stage Management Team | |
| Technical Stage Manager | |
| Deputy Technical Stage Manager | |
| Technical Stage Team | |
| Lighting Designers | |
| Production Electrician | |
| Lighting & Electrics Team | |
| Head of Sound | |
Contemporary Performance Practice Collaborations 2017
CPP Collaborations contain performances from all CPP year groups.
First, we had performances from three different groups of CPP3 students. There was one showing of each performance, with a one day venue turnaround in between groups. All of these groups used the traditional end on & seating bank set up of the venue. Each group had 4 tech sessions - including a dress rehearsal - to make their show happen!
We then had a performance from the full CPP2 year group. We had a one day venue turnaround plus a focus session for this.
The piece was in the round and once the space was set up they required very little tech support, meaning the group had two days of rehearsals in the CST. There were two performances of this piece.
Finally, we had performances from three different groups of CPP1 students which were directed by CPP4 students. There was a one session venue turnaround in between each group, and four tech sessions per group. The first group used the seating bank, the second was in traverse and the third was end on with the audience on deck rather than the seating bank.
The Production Team
The Production team was formed of PTM students from all year groups plus two externals.
Back - front, left - right: Matt Turnbull,
Andrew Johnston, Adlai Faigen, James Hamilton, Andrew Jackson
Callum Farrell, Jamie McQueen, Miranda Stewart, Daryl Campbell, Fee Dalgleish, David McKay
Malcolm Rogan (external), Poppy Apter, Stephen Keenan, Jazz Hutsby (external)
The production team changed slightly after the CPP3 performances. Although the HOD's stayed the same, the rest of team swapped departments and we gained some additional members. Our lighting designer also changed from Ross McCrone to Stephen Keenan. Ross is sadly not in the above picture as it was taken after he had left us to LD the ballet showcase. We were joined for the final two weeks of the process by David who was on work experience with us.
Although there are roles and departments allocated, the only way for CPP to work is for everyone to be happy to pitch in with all different departments!
CPP Collaborations 2017 In Numbers
Dates
Stage Management
The role of stage manager on CPP is very different to that of a more traditional production. The main duties of the SM are risk assessments, time management and floor management, as well as being the main channel of communication between the different technical departments, the cast and the directors.
The stage management team does very little propping or sitting in rehearsals. It is important to go to some sharings to get a feel for the piece and to understand the risks, however sitting in rehearsals for longer than a sharing is not a particularly productive way to spend time & often makes the CPP performers feel uncomfortable.
Technical Stage Management
Over the course of mid April to the middle of June we worked on seven different shows. Each group has different set ups and requirements for their shows. I worked with CPP thirds years first, then 2nd years who were joined by external members of the public and finally by fourth year CPP students who were directing first years. Underneath each show requirement you can find an attached PDF ground plan. The role of TSM on the CPP shows is rather different to a normal TSM role. CPP works like a festival set up. Often you will be preparing all the set/rigging elements for a show and briefing the crew on the fit up. Then you can find yourself at various meetings and sharing to prepare for the incoming groups while your crew can be fitting up/teching/rehearsing in the venue. Often you will be passing on show cues to the crew rather than yourself as you will be consumed with vectorworks, risk assessments and other paperwork for the next groups.
The first group wanted to turn the Chandler white. This was done by laying down 20 sheets of MDF and painting it white. They also used a white cyc which we hung as the exact length of the floor. The cyc was brought out onto the floor to create an effect like they were floating together. We rigged some scaffold bars in the wing space using flange clamps, this was for gauze to be hung on to create wings. This group had a few objects that dropped such as coats and apples, this was taken on by the crew to do by hand during the shows. The seating bank was used.
The second group had the Chandler painted all black and the brick walls exposed. There was four steel deck platforms at various heights (800mm, 1200mm and 1500mm). Two of these were covered with plastic sheeting and scaffold poles to create and industrial/building site feel. This group had a sequence in which rubber life sized dolls were to descend and ascend again. This was done with fishing wire, swing cheek pulleys and miniature bull dog clips. We used lots of washers taped together with black LX to create small weights for this effect. This group used chalk spray to graffiti the back wall, which we struggled to clean off even though it said it would be water soluble. Top Tip - Have paint available to paint over it with, which is what we had to do.
The third group wanted to explore love, so naturally wanted the Chandler to turn pink. We used the 20 MDF sheets from CPP3 Group A, and painted it pink. They also used the white cyc in the same set up. However we also built a ground row as LX were using floor fixtures. There was a scaffold bar that was designed to be hung from and then to fly in to become a swing, however they group decided they just wished to use it to hang so that became something that was just deadhung. Top Tip - Prepare for things in CPP to change alot more than any other production.
The 2nd years wanted to explore the act of dancing in a group and requested that they have the maximum amount of time available to them in the venue. Their piece took place in a circle with 8 X 4 steel deck surrounding them. On some decks there was an additional second level. No chairs were used here and the audience sat upon the decks. The LX designer wanted to build a LX square truss as part of the show took inspiration from the legendary Sub Club. This was done with 4 Loadguard. We slung strops around the highest levels on the catwalks then used 3 1/4 T shackles to attach to the hook of the motors. The truss was made up of a 3000mm and 500mm sections on each side. The power and control was run up and along the catwalks.
This group had requested use of the Opera 2 set to fit in with their piece. So we managed to used the flooring and a set of bespoke treads. The tabs were used to create a black box space. The group borrowed wigs and costume from RCS so the entire piece looked rather royal. The seating bank was used.
This group wanted to use traverse as their playing space. They were set up from the back wall to the seating bank. There was a row of chairs then a row of steel deck with chairs on it. This group had the exposed Chandler with no wings space. The walls and floor was black. On the floor I painted a space of 4500 X 12000 mm solid black. This was lined with white LX tape into five sections as lanes, as the group do the beep test, which involves insurance running.
Our final group was called The Big Freeze so as you can imagine wanted the Chandler to look like an Arctic landscape. We painted MDF sheets white. The group created a hung projection screen out of material I can only describe as wool like. They had a snow drop that was done via crew on the catwalks and they wanted to use plastic cut up bags to create the show. The seating bank was put away and instead there was a row of chairs on the floor, then two sets of steel deck (200mm and 400mm) each with their own respective row. This group used the black tabs as wings.
Lighting
Sound
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