28th April – Get In Schedule

Production: Love and Information Run Dates: From: 4/05/2016            To: 5/05/2015
Production Manager: Naomi Gibson
Thursday 28th April
Time Naomi Conor Steff Shannon James Kieth Mel Anna Curtis
08:15 Briefing Briefing Briefing Briefing Briefing
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
15:00
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
20:45 De-brief De-brief De-brief De-brief De-brief De-brief De-brief De-brief De-brief
21:00 Home Home Home Home Home Home Home Home Home

Love and Information – Technical Agreement

Contents:

  • Mission Statement………………………………………………………………………3
  • Company Structure……………………………………………………………………..3
  • General…………………………………………………………………………………..5
  • Set………………………………………………………………………………………..6
  • Stage Management……………………………………………………………………..7
  • Lighting……………………………………………………………………………………8
  • Sound…………………………………………………………………………………….9
  • Declaration……………………………………………………………………………..10

Mission Statement

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.

Company Structure

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.

Production Manager:

Naomi Gibson

Stage Managers

James Baxter

Deputy Stage Manager:

Shannon McGlone                          Stephanie Gibson

 

Set Designers

Conor Lavelle                                  Naomi Gibson

 

Lighting Designer

Conor Lavelle

Sound Designer:

Naomi Gibson

General:

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:

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.

    Stage Management:

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:

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.

Sound:

We will:

  • 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

Declaration:

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)

Name_________________________________________

Signed ________________________________________

Position_______________________________________

Date _________________________________________

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)

Name________________________________________

Signed_______________________________________

Position______________________________________

Date_________________________________________

 

Inventory for entire Sound

Sound Inventory for the entire Theatre
Production: Riverside Theatre Festival Run dates: From
Item Quantity
Yahmaha LS9 1
Cableing
Item Quanity Working Faulty
3 pin XLR 37 35 2
3 pin multicore 3 1 2
Mono Phono 17 15 2
Stereo Phono 25 25 0
Jack to Phono 4 4 0
Speakers, Monitors and Backstage Relay
Item Quanity Working Faulty Volt/Amp/Watt Notes
Brooke Monitor 11 11 0
Yamaha 2 1 1 8ohms Possible broken tweater
700w
Tanoy 2 1 1 8w Possible broken tweater
PS 30 Dressing A 1 1 0
BOSO Dessing B 1 1 0
Microphones
Item Rack Transmitter/receiver Working Faulty Notes
G3 Headmic 1 1 1 0
2 1 0
3 0 0 Missing
4 1 0
G3 Headmic 2 5 0 0 Missing
6 1 0
7 1 0
8 0 0 Missing
G2 Handheld 2 0
G3 Handheld 1 1 0
4 1 0

Full Lighting Inventory

Lighting Inventory
Production: Riverside Theatre Festival :
Lighting Designers: George Meredith; Naomi Gibson
Control:
Item: Quantity
ETC Congo Jr 1
Lanterns
Item Weight Watts Working Faulty Spread Notes
Strand Quartette 3kg 650w 1 0
CCT Sillohette 13kg 1,200w 1 2
Par 32 2kg 9w 1 0
Strand Prelude PC 4kg 650w 1 0
Selcon PC ` 4kg 650w
Acclaim Fresnel 4kg 300w – 650w 14 0
Minuet Fresnel 2.5kg 650w 5 0
Starlet Fresnel 7.5kg 1,000w 9 0
Robert Juliet 9kg 1,200w 1 0
Selcon Pacific 11kg ` 2 0
Source 4 5.5kg 575kg 2 0
Acclaim Profile 5.5kg 300w – 650w 7 0 3 shutters missing
5 without ‘c’ clamps
5 without safety bonds
Par 64 3kg 1,000w 16 0
Source 4 parnel 4.5kg 750w 6 0
Strand Prelude 7.5kg 240v 2 2 16 <> 30
Furst Flood 4kg 500w 7 0
Iris Flood 6kg 1,250w 3 1 Missing grill
Cableing
Item Quantity Working Faulty
3 pin DMX XLR 14 13 1
5 pin DMX XLR 6 4 2
Specon 6 6 0
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
Accessories
Item Quantity
Selecon Acclaim Guard 26
Selecon Acclaim Filter Holder 43
Prelude Colour Frame 13
Compact Colour Frame 3
Compact Guard 13
Flood Colour Frame 6
Parcan Filter Holder 34
Small Barn Doors 18
Medium Barn Doors 17
Profile Shutter 1
Large Barn Doors 8
Prelude Iris 2
Gobo Holders 17
Various Colour Frames 17
Guards 13
Robert Juliet Barn Doors 1
Filters
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
126 Mauve 10 Medium Yellow
122 Fern Green 9 Pale Amber Gold
119 Dark Blue
118 Light Blue
117 Steel Blue
115 Peacock Blue
113 Magenta
108 English Rose
103 Primary Red
102 Light Amber
90 Dark Yellow Green
89 Moss Green
79 Just Blue
75 Evening Blue
61 Mist Blue
49 Medium Purple
39 Medium Pink
35 Light Pink
26 Bright Red
4 Medium Bastard Amber
3 Lavender Tint

Communications: Alice

Alice:

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.

Communications: Police Brutality

Police Brutality:

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.

 

Choosing Lighting Positions

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:

Image result for stagelightingguide

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.

 

 

 

Image result for stagelightingguideWhen 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.

 

 

 

Image result for stagelightingguideAs 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.

 

 

 

Image result for stagelightingguideAs 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.

 

 

Image result for stagelightingguideLighting 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.