Comedy of Errors 2020
| Comedy of Errors 2020 | |
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| Summary | |
| Dates 22nd - 25th January 2020
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| Performance Course 2nd year BA Acting
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| Location Chandler
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| Creative Team | |
| Director Andy MacGregor
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| Assistant Director John Whittle
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| Designer | |
| Sound Designer | |
| Lighting Designer | |
| Production Team | |
| Production Manager Ros Maddison
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| Assistant Production Manager | |
| Stage Manager | |
| Deputy Stage Manager | |
| Assistant Stage Managers | |
| Stage Supervisor | |
| Lighting Programmer and Operator | |
| Production Electrician | |
| Deputy Production Electrician | |
Summary
Shakespeare loved writing about twins. In fact he loved writing about them so much that in 'A Comedy of Errors' he didn't settle for one set of twins, he went for two. Because two is funnier than one. The mayhem he creates as Antipholus and Dromio of Syracuse get confused for Antipholus and Dromio of Ephesus is a perfect example of his mastery of comic writing.
Company
Lighting
Sound
System Setup
As this show used the seating bank, the PA comprised of the standard Left and Right setup rigged on catwalk 2 with the subs on the same catwalk in their usual configuration. I also added two foldback speakers which were placed directly behind the left and right speakers facing upstage, which were used for the band. My final two speakers were effects speakers, which sat on the floor on the left and right of the stage underneath catwalk 3. These were used for the live foley sound effects, and also acted as front fills to aid the PA L and R for the front few rows of seats.
Sound Design
One of the main features of the Sound Design was the use of live foley sound effects, which was performed by the cast on microphones throughout the show. These sound effects were used to emphasise parts of the action for comedic effect. I had two different EQ effects programmed on the desk for use on the foley to add depth. One challenge of the live foley was plotting what mic was used when and by who. I decided to write the mic plot into my script and note any level changes also. As the Director wished for the foley mics to be kept on throughout the entire show, I opted to keep them at a base level which was set during tech, and noted the level changed from this baseline into my script.
'Comedy of Errors' also had a live band onstage, comprised of piano, cajon, electric guitar, acoustic guitar and violin. They were mic'ed up as follows: Piano L and R- AKG SE 300s Cajon- Shure SM57 (inside cajon) Electric Guitar (clean)- DI Acoustic Guitar- MKE Headset mic and Shure UR1-m transmitter taped near saddle of guitar facing sound hole Violin- MKE Headset mic and Shure UR1-m transmitter. Mic worn by cast member playing violin in her hair and secured by wig clips
There were also several acoustic instruments which were not mic'ed, including two ukuleles, two triangles, clarinet, bodhran and two penny whistles. These were either played acoustically, or through one of the foley mics.
This show had a few sound effects as well, including a record scratch, a piano hit, a sub drop and a 'wall splat'.
Technical Stage Department
Noah Dates - Stage Supervisor
Erin Johnstone - Deputy Stage Supervisor
During prep week, we prepared for the fit - up by prepping kit and making sure all of the paperwork was in order for Health and Safety. Throughout the course of the production, there was not a lot to worry about in regards to the set, which composed of boxes and other assorted props sourced by Stage Management from various places including the National Theatre of Scotland. Technical Stage's main concerns were the pendant practical fixtures that were flown in and out by the performers which terminated on the back wall upstage, the mirror ball that flew in and out center stage and spun and the fake noose, which was lowered down at certain points of the show.
Stage Management
The stage management department consisted of Stage Manager Hannah Henderson, Deputy Stage Manager Zsanka Bollok and Assistant Stage Managers Lea Meloee, Kyle Jessiman and Ruby Noble.
Blackboard
As part of the design two blackboards were required. We got one from the props store but struggled to source a second one, hence our decision to build a second blackboard ourselves. As there was a low budget we were able to source the wood for free from construction and from the dock. The design replicated that of the blackboard from the props store.
Master setting list
Due to the sheer amount of props in this show, the majority of which needed to be set on stage at the top of the show, a detailed setting list became vital. We decided on supplementing the list with a visual guide for ease.