Die lustigen Weiber von Windsor

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Die lustigen Weiber von Windsor
Merry wives.jpg
Die Lustigen Weiber von Windsor
Director Directors Nicolette Moner
Conducted by [[]]
Set Designer Cordelia Chisholm
Lighting Designer Roy Herd
Venue New Athenaeum
Performance Dates 11th May- 16th May 2013


Production Photographs

All images Ken Dundas, RCS.

Merrywives2.jpg Merrywives3.jpg Merrywives4.jpg Merrywives5.jpg

Production&Creative Team

Director- Nicholette Moner

Production Manager - Sandy McRobbie

Set Designer - Cordelia Chisholm

Lighting Designer - Roy Herd

Stage Manager - Alice McKay

Deputy Stage Manager - Fiona Findlater

Assistant Stage Managers - Eve Kerr, Ross Jardine, Katy Nicolson, Siobhán Scott

Technical Stage Manager - Melissa MacDonald

Deputy TSM/Head flys - Andrew McCabe

Technical Crew - Stuart Lord, Sarah MacDonald, Chrissie Huxford and Robert Gear

Chief Production Electrician - Blair Omond

Deputy PLX and Lighting Operator - John Beggan

Electrics Crew - Kieran Fitzpatrick, Maciej Kopka

Assistant Carpenters - Robert Gear, Connor Gallagher, Lauren Keanie

Assistant Props Makers - Zoe Kemp, Clara Fink, Lisa Speirs

Assistant Scenic Artists - Carolyn Clark, Iona Gray

Costume Dept - Jade McNaughton, Sophie Prior, Carola Gudim, Evonne MacRitchie

Technical Stage Management

Technical Challenges

Flown Walls

One of our main challenges on this opera was fitting in all of the flown elements. To begin with we rigged the flown walls as normal with turnbuckles, drifts ( 7000m) and flying irons- however, the flown walls were very top heavy as each flat had wooden cornicing along the front (weighing 14kg) this caused all of the walls flats to lean both in their IN and OUT positions.

After much debate new Open Ended drifts and wedge sockets were bought. Rather than hanging the flats from back with the irons in the US side, we hung them by drilling holes in the top of the flat and threading the drifts though the flat to the flying irons which were positioned inside the flat. This distributed the weight more evenly and made a significant difference.

Letter Lines

During the Windsor Forest scene, 100 letters were to fly in. For this we used a hemp bar, a CW bar and, as we had run out of space in the grid, we used x2 3000mm pieces of conduit. We joined them and taped over the join to strengthen it with tape- this fitted better than adding another hemp bar.

The letters were attached to the bars with lengths of 1mm braided cord ( available from Flints at £9.00/100m. ) this worked better than fishing line as the letters were simply empty handmade evelopes- the lack of weight would have made the fishing line curl up and look untidy. The cord had a matte quality to it that made it less obvious than fishing line- which could catch the light.

Individual Love Letter Lines

During Act 2 there were 3 lines which were to be flown in and a love letter attached to each- with not fiddling. At first we attached magnets to the lines and put penny washers in the envelopes. However, due to how little room there was between flown walls, the magnets continuously got stuck on the hardware on the way out.

To resolve this we put the magnets inside the letters and the washers on the lines. These lines were made from the same 1mm cord as the other letters.

Paperwork examples relating to this production for your reference

Groundplans at 1:200





Stage Management

Production Electrics

LX Crew Call Sheet

File:LX Crew Calls.pdf

LX Summary of Crew Hours

File:Crew Hours.pdf

LX Equipment List

File:Equipment List.pdf

LX Colour Call

File:Colour Call.pdf

LX Channel / Dimmer Hook Up Sheet

File:LX Hook Up.pdf

Full LX Plan

Lighting Design