Magic Flute 2012
| Magic Flute 2012 | ||||||||||||||||||
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Magic Flute
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Crew
Production Manager - Lynfryn MacKenzie
Stage Manager - Dougal Gudim
Deputy Stage Manager - Marian Sharkey
Assistant Stage Managers - Elleanor Taylor, Jane Paterson
Set Designer - Cordelia Chisholm
Lighting Designer - Alexander Ridgers
Sound Designer - Blair Omond
Technical Stage Manager - Fiona Nisbet
Deputy TSM - Rebecca Coull
Head Flys - Melissa MacDonald
Production Electricians - Fraser Walker, Christopher McIntyre
Electrics Crew - Oliver Gorman
Lighting Operator - Sam Cunningham
Sound Operator - Blair Omond
Technical Crew - Ben Terry, Andrew McCabe, Jennifer Howes, Ashley Kerray
Set
Stage Rake
Iris'
Staircase and Pink Wall
Gold Wall and House Wall
Doors
A major part of the set, are 8 doors, which were flown in quite a few different scenes, sometimes moving throughout. In act one, some needed moved together, and in act two they all had to move independently, which required a few bar changes at the interval.
Trap Doors
Originally the trap doors were going to open upwards, for safety reasons. But after risk assessing the traps were built to open downwards like the designer imagined. There were 8 traps cut into the rake and one operator was needed for each pair. In act one teddy bears came out through the holes, and in act two it was baby dolls.
To make the traps safe for performers to be on the rake, each trap has a flat bolt flat that slides under each opening, to unsure that they didn't open in a different scene.
Falling Pigeon
During the first Act, a dead bird was to fall from the grid. To do this, I used the same kabuki method as Aladdin Panto 2011, but made it far shorter so that only two pins were needed, and asked the props department to add some loops onto the pigeon.
Nooses'
In Act 2 five nooses were to drop from the grid as quickly as possible. To do this, the nooses were made from hemp so that a single point could be run from the fly floor through a header block on the grid and then straight down to the stage where the noose would then be tied into it.
There was always a worry that the noose wouldn't be enough weight for the line to run quickly on it's own, so 6m above the knot, a few key clamps were shackled onto an alpine butterfly to add extra weight, and make sure it ran in like it was being dropped.
Props
The making of the Magic Xylophone