Peter Pan
| Peter Pan | ||
|---|---|---|
| Production | A3 Peter Pan | |
| Performance Time | ||
| Performance Dates | December 2018 | |
| General | ||
| Venue | New Athenaeum Theatre | |
| Creative Team | ||
| Designer | Robin Peoples | |
| Lighting Designer | Adlai Faigen | |
| Sound Designer | Allan Hamilton | |
| Production Team | ||
| Production Manager | Colin Bell | |
| Stage Manager | Poppy Apter | |
| DSM | Jessica Reid | |
| ASM | Zeni Bollok, Ross Hunter | |
| TSM | Regan Kelly | |
| DTSM | James Hamilton, Hiu Wing Wong | |
| Head of Flys | Lewis Douglas | |
| PLX | Jak Coventry | |
| DPLX | Joshua Brown | |
| LX Programmer | Karyn Wilson | |
| LX Crew | Hannah Henderson, Louise Chan, Noah Dates, Jessica McKay, Jamie Murray, Rhys Gaughan | |
| PSE | Neal Clark | |
| TSM Crew | Andrew Lynch, Julia Daniczek, Nicholas Ruebenacker, Darren Wilson, Corey Jackson, Rhys Gaughan | |
| Sound Crew | Mark Sillet, Conor Brown | |
Overview
Stage Management
Technical Stage Management
Ground plan
Fit Up
Performer Flying
An important part of Peter Pan is obviously the performer lying in the show. Within our production 3 systems were implemented: Human Counterweight, Automation straight lift, and Kinesys straight lift. Below will detail: What each system was, the equipment used to rig it, and important health and safety aspects.
HUMAN COUNTERWEIGHT
The System
This system gave us the ability to track and drop Peter Pan across the stage using 2 human counterweights. We rigged a span of truss on 2 motors and secured it to the beam above the flyrail to prevent it swinging. On the truss was a span of unibeam track. Mounted on the track was a heavy duty scenery carrier. We had 2 control lines, 1 line controlled the drop and the other controlled the tracking of the carrier.
IMAGE
Equipment
Below is a list of the equipment used to rig the system and the loads imposed on them.
EQUIPMENT
LOADS
Health and Safety
Health and Safety is an a key aspect of performer flying so every day checks were made and a rigorous risk assessment process was done in pre production as well. Below is the final risk assessment and daily check template.
RISK ASSESSMENT
CHECKS
Trap
Flys
Forestage Curve Installation
Genie Trap Installation
Running Lists
Lighting
The Team
Lighting Designer - Adlai Faigen
Production Electrician - Jak Coventry
Deputy Production Electrician - Joshua Brown
LX Programmer - Karyn Wilson
Lighting Crew - Hannah Henderson, Louise Chan, Noah Dates, Jessica McKay, Jamie Murray, Rhys Gaughan
Wireless Kits
(Jak Coventry) Due to the moving set on the show, the use of wireless DMX kits were required to ensure that there was no cabling in the way.
We used "Wireless Solutions" transmitter to talk to 5 receivers on stage in scenery. Each receiver had an RGB output with RGB LED Tape connected. Each of the 5 boxes were addressed as a standard intelligent fixture and were controllable from the LX desk.
Each box was powered with a 12v 8amp Tracer battery which were very powerfully and never lost charge very quickly.
The picture bellow shows the LED tape on both the beds and inside the Christmas tree.
Christmas Tree with 48 Lights!!
(Jak Coventry) As part of the design, a Christmas tree made out of cones with 48 working candles was to be made. It also had to chase in stages (top, bottom and middle).
After a lot of thinking about how this could be achieved, the LX team went with the option of making this using small 12v LED lights (0.5w each) wired in 3x parallel circuits, one for the top half, one for the middle and one for the bottom half.
All 3x "+" cables were wired into the "+" terminal on the wireless LED receiver and each of the 3x "-" cables were wired into the "R", "G" and "B" terminals on the wireless LED receiver to get individual control of the sections.
The tree worked really well every show and looked rather good!
Tree electrics installed by Jak Coventry and Karyn Wilson.
Lighting Plans
Sound
The Team
Sound Designer - Allan Hamilton
Production Sound Engineer - Neal Clark
Sound No.2 - Conor Brown
Sound Technician - Mark Sillett
System
Peter Pan was the first show to use the Shure Axient Digital Kit. It had 22 ways of Radio Frequencies which included 20 DPA 4060's used with AD1 packs for cast microphones and 2 re-terminated DPA 4060's with UR1's for the roaming instruments, which were Cello, Guitar, Accordion, Flute, Piccolo, Saxophone and Banjo.
Due to the complexity of scene changes and vast amount of moving set pieces, the majority of the sound equipment was housed below stage level in the pit. This allowed for quick fault finding and it provided a secure location to store equipment throughout the run. One member of the sound team was always present during performances and tech period in the event that something should go wrong. This made it as easy as running two lines of Cat 5E to FOH. Equipment in the pit included;
Midas DL251 x2
Midas DL371 x1
Shure Axient Rack w/ x5 AD4Q, Antenna Distro, x3 Battery Chargers
Redundant Qlab w/ MacBook Pro, Focusrite Scarlett 18i8
Motorola GP340 x12
Motorola Impres Charging Station x2
Wireless Comms Charging Station
Cable Stock
To combat the loss of low end frequency in the Athenaeum stalls, one Meyer 600HP Subwoofer was hired from a local company and placed under the fore-stage curve. This fitted to the exact measurements on the height of the fore stage and provided even coverage to the stalls which prevented overpowering the circles with the centre cluster. Along with it fitting perfectly under the fore stage, it also fits perfectly in the back of a VW Golf.
Redundant Qlab
Peter Pan Qlab stack had over 800 individual elements throughout the whole show which meant in the event of a failure, there needed to be a redundant system in place. For this we used a replica qlab setup in the pit which had the exact same sound card and qlab file running. Both the main machine and backup were networked using a static IP and secure passcode within Qlab network. Within the main machine show file, along with every group, there was an OSC network command sent out triggering the cue on the backup machine. In the event of a system failure FOH, Sound No.1 would simply have to navigate to Pop Group 'Qlab Redundant' on the Pro 6, which carried through every scene and unmute the group, where levels had been set beforehand, leading to a fairly seamless transition, giving time for the Sound 1 to troubleshoot FOH machine.
Communications System
With the amount of performer flying and moving set pieces, the show required a robust communications system. For this we used the in house Tech Pro master station allowing all of the wired comms headsets to simultaneously talk to each other across Ring A and B. We then split a signal out of Ring A, down the GPO patch to the SL wing where we split the signal from two wire to four wire then into a Raycom Basestation which transmitted two ways over a frequency. 12 Motorola GP340 radios were programmed to transmit and receive on this frequency allowing crew members who needed to be able to roam to hear the full show call. The only complication using this, was that it was capped at two ways of communication, meaning that not everyone on radio's could respond at one time. For roles such as Stage Manager, Technical Stage Manager and Production Electrician, who need to be able to have separate two way communication at all time, we used 4 ways of BTR-80n Wireless Comms which was taken as a split out of the Raycom unit. All antennas were placed on the SL tormentors allowing full coverage of the stage, dock and stalls.
Composition
The Team
Composer - Graeme Law
Musical Director - Jacob Kerzner