|Production: Love and Information||Run Dates: From: 4/05/2016 To: 5/05/2015|
|Production Manager: Naomi Gibson|
|Thursday 28th April|
|08:30||MT Set out||MT Set out||MT Set out||MT Set out||MT Set out|
|09:00||MT set out||MT set out||MT set out||MT set out|
|12:30||Sound setup||Lighting setup||Sweep Stage||Sound setup||Sweep Stage|
|13:00||Lighting Inventory||Lighting Inventory||Lighting Inventory||Lighting Inventory|
|13:30||Attach Lycra to frame||Rig Lanterns||Attach Lycra to frame||Attach Lycra to frame||Attach Lycra to frame||Rig Lanterns|
|15:15||Clinical on stage||Rig Lanterns||Clinical on stage||Isolation on stage||Shack on stage||Isolation on stage||Shack on stage||Clinical on stage||Rig Lanterns|
|20:00||Clean up||Clean up||Clean up||Clean up||Clean up||Clean up||Clean up||Clean up||Clean up|
- Mission Statement………………………………………………………………………3
- Company Structure……………………………………………………………………..3
- Stage Management……………………………………………………………………..7
We, as a company, are here to help enhance the performance of ‘Love and Information’ through the use of sound, lighting, visuals, set design; construction, operation of lighting, sound and visuals alongside stage management. These services are to be provided by a team of well trained and devoted technicians and designers, who are managed by experienced personnel.
The space within the Theatre is to be designed to compliment the performance. There is a team of competent persons that endeavour to produce the highest standard of work to enrich the performance. The set design is created by the designers in collaboration with the directors. The lighting designer is on hand to add atmosphere and enhance the performance through the use of lighting. The stage management team will network with the performance teams to ensure that all the propping and hospitality needs are met. During the production period, we will supply, install and operate all equipment that you require in accordance with the finalised designs.
We follow a Theatre hierarchy which will help you know who to contact if you have any issues or queries. Please find below the teams which are provided so you can direct any issues or queries to the relevant department. Should there be any general queries, please contact the Production Manager.
Deputy Stage Manager:
Shannon McGlone Stephanie Gibson
Conor Lavelle Naomi Gibson
Within this technical agreement, there will be sections for each department, which will highlight the services that are provided. As well as showing what we will provide you, it will also entail what will be provided by your company. By signing this document, you are agreeing to all content and requirements of your company. Once this agreement is confirmed, all deadlines are final. The technical team takes no responsibility should the terms failed to be met, however we aspire to assist you for the result of a successful show.
The technical team takes no responsibility for lost or damaged items during the production. Whilst we will provide storing facilities, valuables and personal property is left at the owner’s risk. We try and ensure the utmost security, but we will not be responsible for damaged or missing items. Any items that are left within any area of the Theatre, we have the right to dispose of by 12pm 06/04/2016. The backstage area of the venue is to only occupy performers and the production team. Members of the public are not to be taken backstage. If this does happen, the uninsured persons will be asked to leave by security. This will also apply to any performances outside of public viewing.
The technical rehearsal is at a set time. This needs to be attended. Failure to arrive on time will put your rehearsal in jeopardy as it may get cut short.
To keep to Health and Safety standards, and for everybody’s well being, it is highly recommended that you tell a member of the technical team if any piece of equipment is faulty. This is to ensure repair or removal of the piece of equipment.
Prior to the technical rehearsal, all cast and crew are to be taken on a Theatre walk where the Production Manager and Stage Manager will go through all Health and Safety. Failure to comply will result with the performers not being able to use the space provided until this has been completed.
Set like Lighting is a crucial part of the production. The aim of the Set Designer in brief is to provide a design that represents the text within the show working alongside the Director(s) the Set Designer creates a Set that both the Designer and Director are happy with.
We as the Set Designers/ Scenic Builders aim to:
- Create a Set that both the Director and Designers are happy with
- Create a Set that follow theatre regulations and Health and Safety Guidelines
- Construct and Fit the set to a high standard
- Make sure that both Directors and Performers know of any Health and Safety aspects to the Set
You as Director/Performer must:
- Attend a Health and Safety briefing on 3/05/2016 at 08:30
- Report any faults to the Set Designers/Stage Managers
- When in the theatre take care so that no damages are made to the Set.
The stage management team will consist of the Stage Manager, Deputy Stage Managers and Assistant Stage Managers when required. Most of the communication will be through the Deputy Stage Managers, who will endeavour to be in as many rehearsals as possible.
What we will do for this production:
- Provide a mark out of the stage in the rehearsal room to ensure that you know where the set is going. To be completed by 23/03/2016
- To attend as many rehearsals as possible for information to be relayed to the appropriate member of the team
- Engage in a props discussion with Directors for performance requirements
- Provide props or scenic elements in accordance with the Directors.
- Have a Theatre walk and have a Health and Safety briefing to ensure all persons are safe at all times
- Provide two separate dressing rooms during the rehearsals and performances
What we expect from you:
- Ensure that any props or setting requirements are communicated for consideration prior to 15/04/2016
- Have respect for all stage properties
- Attend a Theatre walk before the technical rehearsal
- Ensure there is a high level of cleanliness in regards to keeping the space clean and tidy
- Remove any personal items from the space and dressing rooms after the show
- Any items left will be collected from the Theatre at 13:00 on 06/05/2016
Lighting is an important part to any performance. The aim of the Lighting Designer or LX Designer in short is to provide a design that coincides with the directors wishes for the performance which will illustrate the mood and atmosphere of the show/scenes.
We as the Technical Team will:
- Provide a fully functional rig
- Carry out any maintenance of the lanterns that need to be carried out.
- Complete an inventory list of any lanterns, cables and etc available to us.
- Meet with the director on a frequent basis to discuss any ideas that may be important to the show
- Attend rehearsals and discuss ideas with the director about the Design
- Attend a paper tech between the Director, DSM and LX Designer
- The LX Designer will act as the LX Operator during shows
- The LX Designer will provide a cue synopsis for the paper tech that coincides with the ideas provided by both Designer and Director.
You as Director/Performer must:
- Alert the LX Designer if you believe there to be anything wrong with the rig or lanterns provided
- Keep the DSM informed of any information that relates to the LX Design if the LX Designer is not in rehearsal
- Attend a paper tech on 20/04/2016 at 13:00 as this will allow the Director and Designer to discuss cues and have a final discussion about the Design, this is also a chance for the DSM to put cues into their prompt copy.
- Attend both Technical and Dress Rehearsals.
- Ensure all sound equipment is installed ready for the dress, tech and performance
- Provide sound operators for the dress, tech and performance
- Provide a backstage show relay system so the performers can listen to the show
What you must do:
- Ensure that performers refrain from touching the equipment unless it is required by the technical team
- Provide all sound effects by 20/04/2016
- Attend a paper tech on the 20/04/2016 at 13:00
- Attend a sound parade to make sure that you like the sounds
We look forward to working with you and your performance team.
If you are happy with the information provided please complete the declaration below.
I confirm that the information provided in this document is correct to the best of my knowledge. Any request for deviation on this technical agreement will be presented to the designee with reasonable notice, commonly 48 hours.
(on behalf of the production team)
I confirm that I am satisfied with the information and services provided within this document. As the signee, I confirm that I am overall responsible for the performers aspect of the production as well as making sure that the performers adhere to the terms in this technical agreement.
(On behalf of the performance team)
|Sound Inventory for the entire Theatre|
|Production: Riverside Theatre Festival||Run dates: From|
|3 pin XLR||37||35||2|
|3 pin multicore||3||1||2|
|Jack to Phono||4||4||0|
|Speakers, Monitors and Backstage Relay|
|Yamaha||2||1||1||8ohms||Possible broken tweater|
|Tanoy||2||1||1||8w||Possible broken tweater|
|PS 30 Dressing A||1||1||0|
|BOSO Dessing B||1||1||0|
|Production: Riverside Theatre Festival||:|
|Lighting Designers: George Meredith; Naomi Gibson|
|ETC Congo Jr||1|
|Strand Prelude PC||4kg||650w||1||0|
|Acclaim Fresnel||4kg||300w – 650w||14||0|
|Acclaim Profile||5.5kg||300w – 650w||7||0||3 shutters missing|
|5 without ‘c’ clamps|
|5 without safety bonds|
|Source 4 parnel||4.5kg||750w||6||0|
|Strand Prelude||7.5kg||240v||2||2||16 <> 30|
|Iris Flood||6kg||1,250w||3||1||Missing grill|
|3 pin DMX XLR||14||13||1|
|5 pin DMX XLR||6||4||2|
|13 amp extension||8||6||2|
|15 amp extension||11||9||2|
|15 amp multicore||1||1||0|
|13 – 15 amp ex||10||9||1|
|15 – 13 amp ex||8||8||0|
|Selecon Acclaim Guard||26|
|Selecon Acclaim Filter Holder||43|
|Prelude Colour Frame||13|
|Compact Colour Frame||3|
|Flood Colour Frame||6|
|Parcan Filter Holder||34|
|Small Barn Doors||18|
|Medium Barn Doors||17|
|Large Barn Doors||8|
|Various Colour Frames||17|
|Robert Juliet Barn Doors||1|
|Lee Filters: Files||Lee Filters: Folders||Rosco Filters|
|Filter Number||Filter Name||Filter Number||Filter Name||Filter Number||Filter Name|
|790||Moroccan Pink||779||Special K.H. Lavender||#12||Straw|
|789||Blood Red||797||Deep Purple|
|773||Cardbox Amber||793||Vanity Fair||Other|
|764||Sun Colour Straw||780||As Golden Amber||3x White Diffusers|
|736||Twickenham Green||728||Steel Green|
|723||Virgin Blue||727||QFD Blue|
|715||Cabana Blue||721||Berry Blue|
|708||Cool Lavender||713||J. Winter Blue|
|501||New Colour Blue (Robertson Blue)||711||Cold Blue|
|443||Quarter C.T. Straw||707||Ultimate Violet|
|442||Half C.T. Straw||700||Perfect Lavender|
|441||Full C.T. Straw||198||Palace Blue|
|352||Glacier Blue||174||Dark Steel Blue|
|327||Forest Green||170||Deep Lavender|
|281||Three-Quarter C.T. Blue||162||Bastard Amber|
|211||.9 Neutral Density||161||Slate Blue|
|203||Quarter C.T. Blue||152||Pale Gold|
|202||Half C.T. Blue||148||Bright Rose|
|201||Full C.T. Blue||140||Summer Blue|
|200||Double C.T. Blue||137||Special Lavender|
|194||Surprise Pink||136||Pale Lavender|
|182||Light Red||124||Dark Green|
|181||Congo Blue||116||Medium Blue-Green|
|169||Lilac Tint||110||Middle Rose|
|154||Pale Rose||107||Light Rose|
|139||Primary Green||52||Light Lavender|
|132||Medium Blue||25||Sunset Red|
|122||Fern Green||9||Pale Amber Gold|
|90||Dark Yellow Green|
|4||Medium Bastard Amber|
My first meeting with this director was the same as police brutality. We discussed the different themes and scenes she would like to create. The style she was going for was surrealism
As I attended my first rehearsal on the same day as police brutality there was a lot to remember and take in. The scenes were all there and didn’t change much so I didn’t have to attend every rehearsal. She was adamant on what she wanted lighting wise but I managed to make a few changes which I feel enhanced the performance.
Scene one was to have three chairs and one table. I said there is a way in which I can do it if you have the table and one chair centre stage I could use the spot from police brutality and use the two Macs on the rig to spot the other two chairs wherever she would like them. She liked this idea as it gave her freedom of space.
Scene two she was uncertain of, so I put forward the suggestion of having the lighting as though wonderland was forming around the performer. The scene consisted of the mad hatter talking about how wonderful wonderland is. I was asked how I could create that, so I replied saying I could fetch up each lantern one at a time with different colours giving off the effect of something forming. This idea was settled after discussing my reasons behind it.
Scene three, I was thinking about the music which would be underscoring the performers. It was a circus theme so I automatically thought of red and yellow. I felt like things were two stationary so I put across the idea of creating a chase so that they change colours. This is so I could get out of monotonous cycle which I could feel myself forming. Again the director liked this idea so it was set in stone.
Scene four was a Cheshire cat scene, so to create a sense of realism I went back to Disney’s version and suggested a purple stage with general coverage for visibility. I did mention about a gobo to texture the floor but the director just wanted it to be simple. I respected her decision whilst still trying to persuade her otherwise.
Scene six was a movement piece. There was a few differences with this scene but we both worked together to create a suitable state. I said to have side lighting and backlighting. I research movement pieces and this was more of a dance. I learnt that dances have side lighting to shape their movements. The director wanted backlighting to make their movements more dramatic. We came to a compromise and decided to try them both together with the agreement that if the director wasn’t sure in the tech we would go with the one which looked better and created more emphasis.
Scene six was a remotely sad scene. Mad Hatter is talking about wonderland is falling apart. With this I jumped to state two and thought of doing it in reverse. This was to show the deconstruction of wonderland. I said it would be effective as in the end the performer would end up in darkness as though wonderland is no more.
Scene seven was the same as the first scene as it is repeated but is extended. In the end we see a performer leaving the audience and stabbing ‘Alice’ Myself and the director came to the conclusion there would be a snap of red when the performer is stabbed.
The first meeting I had with one of the directors was to initially discuss what she was thinking for her participation to the Riverside Theatre Festival. This meeting lasted approximately 10 minutes. I was given the starting point for what she felt the scenes should be about and discussed the themes so I wouldn’t be in the dark at the first rehearsal I attended. I was given the style of theatre would be absurd, so I went home that night and researched what absurd theatre is, and looked at different videos and articles to find out what police brutality was fully about.. This concluded the meeting.
The second meeting started approximately at the 5th rehearsal. This is because I wanted to give the performers space to create their characters and have a starting point for the production. There were a number of scenes to see, which I managed to get some ideas for from watching the videos. During the rehearsal, it was being mentioned what the director would like from the performance, yet she was giving me room to negotiate and compromise. At the end of rehearsal, we managed to come together and talk about our ideas in full. It was said that the director wasn’t too keen on having any blackouts, as she said she wanted the audience to see everything that was going off on stage. We spoke of the first four scenes. I was aware that nothing was set in stone as this was my first time seeing what she had for me and we had only one discussion before. Scene one was to be a spot on five performers then isolate one performer. The other members of the cast would have created a wall at the back of the stage, then bring up a general coverage of the stage. Scene two was to be a toilet scene which also consisted of general coverage of the stage, then onto scene four straight away, the staging would turn red with leds to resemble an occult. Then for the final scene of the day, there would be a repeat of the first scene.
At the third meeting, a number of the scenes had changed as you can tell from the image of my notebook above. She still wanted the toilet scene but in a different place. Another thing which changed is that the cast had gone from five to three. This was no issue as I was able to talk to my co-lighting designer and came up with a solution. As he was using a number of spots in the same place, I was still able to have five spots. This was just a precaution in case the other members of the cast came back.
Scene one: There would be two performers on the stage playing chess. The idea was to have a centre spot on the them both and the table with the chess board. There was to be a blackout at the end of this scene, as the director thought it would be a good idea in some areas to separate the scenes. I did push for this idea as I thought it would add more suspense as to what was coming next.
Scene two would be a freeze frame, similar to what we discussed in the first meeting. The director wanted a quick snap at the beginning as though it creating a photograph for the audience. Luckily enough, I was sitting in on a first year lighting session the week before, and this was spoken about. The part of the session I am referring to was framing the scene. I mentioned that I could create a silhouette with backlighting, when the three spots would be directly on top of the performers. At first I thought it would work with the fade time being on 0.5 seconds but thought that would be too quick for anything to register with the audience. Instead I thought of two seconds, also for the performers to have time to get into position.
Scene three was to have the toilet scene. I spoke with my co-lighting designer and tutor to find out if there was a gobo which I could use to resemble prison. Luckily there was one in the Mac500 which was already placed in the rig on the lighting plan. I put this forward to the director and she loved it rather than just having general coverage. It was spoken how she wanted to split stage it and put two parts of the scene on different size of the stage. Stage right was to be the prison and stage left to be the toilet. For stage left I said for the prison bars, but for visibility to also have some general coverage. I gave my reasons which were taken into consideration and accepted. For stage right, as it is a sinister moment, we stayed for the red leds. I also explained that the set would have some luminaires in so could always light them up too. She loved this idea as she felt it was more absurd if I could put different colours in each tower.
Scene four was to be a repeat of scene two. This is to be repeated over a few times within different scenes.
Scene five I mentioned having a light blue led on stage left. This scene is about a good police officer saying goodbye to his girlfriend/wife as he is going to work. I also suggested instead of having general coverage to have two follow spots on the performers as I feel a general coverage will lose the effect on the colouring.
Scene six is a riot scene which I thought would be good to have red to represent the chaos. Also to have the two robes which were on the floor to strobe blue for the contrast.
For this section, I am going to concentrate on the different positions in which you can light a performance. This will enable me to choose from a range of positions to help with my lighting design for Acting and Musical Theatre.
Lighting from the front:
A vertical beam will be more efficient for lighting from the front, as the lit area of the stage and the shadows, should be no wider than the actor. One con of this is that the actors eyes will then be seen as black holes and the nose (which will be highlighted from the lantern) will then shade the mouth, making the facial features less noticeable.
When the lantern is moved slightly forward, it will start to reach the actors mouth and eyes (if the chin is being held upright in the right posture.) However, with the lantern being brought forward, shadows will be present. The shadow cast from the actor will go more upstage.
As the lighting comes more to the front, the actors facial features become more visible as they receive more light. Again, this increases the shadow which expands further and further upstage with the likelihood of the shadow hitting the scenery.
As the lighting is right at the front of the stage, the actors features becomes too bright as well as the scenery. The shadows increase dramatically. When the lighting is like this, the beam shape goes horizontal, known as a corridor, which shows the entire depth of the stage, and the actors shadow becomes the same as the actors length.
Lighting from below projects the actors shadow, so it goes bigger when the actor is closer to the lantern. But when the actor moves further away, the shadow will decrease. When there is only this lighting angle, the light on the face reflects will soften the harsh features.