A Midsummer Night's Dream 17

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A Midsummer Night's Dream
22nd - 24th March 2017
Performance Course
Chandler Studio Theatre
Creative Team
Hugh Hodgert
Sound Designer
Lighting Designer
Production Team
Stage Manager
Deputy Stage Manager
Assistant Stage Manager
Assistant Stage Manager
Production Electrician
Lighting Programmer

A Midsummer Night's Dream

'Straight from the dark corners of his imagination, but also rooted in both Greek mythology and 16th century English court and country, this most loved of Shakespeare’s plays is both a delightful comedy and a sombre look at some of the darker corners of the human psyche.

A miracle of multi-faceted storytelling, it explores the self in the world and the inner world of the self, exposing the need for empathy, balance and harmony in our relationships with each other and with nature.

A play for our uncertain and unpredictable times if ever there was one.

MA Classical and Contemporary Text in partnership with Bard in the Botanics.'

The Production Team

The Production team was formed of first year students, third year students and external practitioners.

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Left to Right- Callum Farrell (production electrician), Dylan Hodgson (LX Operator), James Hamilton (Assistant Stage Manager), Chris Brown (Stage Manager), Miranda Stewart (Deputy Stage Manager), Fraser Cherrington (Assistant Stage Manager), Andrew Johnson (Sound Operator/designer) and Ross Brodie (Sound Operator/designer)


Stage Management

Technical Stage Management

All Technical Stage management activities were taken care of mainly by the Stage management team and the Production Manager.



The sound for this production of 'A Mid-Summer Nights Dream' was carried over from the production of 'Henry IV' the week before. Only needing to use six inputs of the Chandler Studio's LS9, two as a left and right input for a Mac running QLab and the other four as possible overheads to add effects like reverb to add to the atmosphere. We used seven outputs for both shows, having 3 x left mid-tops, 3 x right mid-tops and two subs linked together. We had this many because of the seating arraignment in the venue, seating banks on three sides. This amount of speakers allowed us to have a stereo L+R on each bank, having the subs on the middle catwalk of the venue for the best combination of the speakers being hidden with the spread they would provide from a location that is equal distant to each seating bank.

The show, for a time, was run off a behringer X1632 analogue desk but was later switched out for the chandler's house desk, a Yamaha LS9