Technical Guidance for Schools, Music, Theatre & Dance Academies

Transcription

1 Technical Guidance for Schools, Music, Theatre & Dance Academies Contents: 1. Introduction 2. Safeguarding 3. Health & Safety 4. Getting in and Getting out 5. Starting the show and moving between Scenes and Acts 6. Script or running order? 7. Sound 8. Lighting 9. Projection 1. Introduction We will always work with you to make the most of your performance and give your audience a good time. The feedback we get tells us that our technical team are extremely supportive and we re proud of that. We can, if pushed, put on your show armed just with a set list, a CD of songs and a quick chat about what you want to achieve. However, this is NOT recommended. The more information you can give us in advance and the more you can do to help us understand your show and your performers, the more likely we are to be able to achieve perfection! You will, no doubt, have been rehearsing your show for a number of weeks before you get to the theatre. You will know it back to front. Please remember that it will all be new to us. Have a think about what we will need. Here are some thoughts: Evan Rees July 2018 P a g e 1 Tech Guide for Schools

2 A show synopsis is always useful. Just a few paragraphs to tell us what the show is, how acts and scenes are split up, where the interval comes, timings etc. (example attached) If appropriate / possible a script is useful. The script should include dialogue, cues for sound tracks, dance etc. and lighting cues. If the show consists mainly of song / dance numbers then a running order will suffice. This should indicate all numbers / routines, in the order they occur in the performance and indicate the sound / track to be used with each. Timings and lighting cues should be included if possible. If using a number of microphones, it may be useful to provide a microphone schedule to supplement the sound cues. This helps us to make sure that the right microphones are live with offstage performers mics muted to avoid unfortunate overspill from backstage. (example attached) If using pre-recorded music or sound effects we will need this in the right format. On a laptop is good and allows us to see track titles in advance. We can also use CD s MP3 players or USB memory. See notes on sound. If using any projected images / film we will need this on a laptop. See section on projection below. The sooner you can get these to us the better. Remember that we don t have photocopying or printing facilities at the theatre. As well as ing information to us, please bring at least two spare copies of everything with you on the day of the performance. We are used to dealing with last minute changes they happen in most performances. However please keep changes to a minimum and give as much notice as possible. It s then easier for us to accommodate them. 2. Safeguarding If you have any questions please ask. Its not the purpose of this paper to address children and vulnerable adults safeguarding issues in detail. We did however want to point out that whilst our technical and front of house staff have been DBS checked and have received safeguarding training, they cannot act as chaperones or take any role in supervising any children or vulnerable adults in your company. Our technical staff will generally not enter backstage or dressing room areas once your company has been admitted except in emergency situations. Please ensure that all safeguarding requirements are met by your company, staff, volunteers and performers. Evan Rees July 2018 P a g e 2 Tech Guide for Schools

3 3. Health & Safety A theatre is a unique space, with its own dangers and risks. We have a range of Health & safety policies and procedures designed to help keep you and your audience safe. Theatre staff will support you to follow our procedures. We thought it would be sensible though to draw out a few key points for you to think about in advance: The stage itself presents a risk. The front edge of the stage has a 1.5M drop to the floor of the auditorium. The edge of the stage is clearly delineated with a white line but we ask that performers be made aware of the risk. We suggest that when planning performances, use of the extreme downstage area (the front edge) is minimised. We also ask that very young performers be accompanied by older performers / teachers when onstage. For some performances, the stage and wings may become quite complicated to navigate, with a variety of lights, haze machines, monitors, pieces of set and props. It is essential that you minimise the risk of trips and falls by familiarising your performers with the layout of the stage and wings. Any electrical equipment brought for use on-stage should be PAT (portable appliance testing) tested. Any cabling to equipment must be taped down and approved by our technicians. Any stage sets / scenery brought in to the theatre must be properly braced and secured so as to prevent it falling. Bolting, screwing, nailing, stapling or gluing to the stage are not permitted. Anything involving a naked flame (e.g. candles) or pyrotechnic effects must be approved by our technicians in advance. Please advise us if any performers are sensitive to particular lighting effects or to artificial haze. Between getting in and the auditorium being opened to the audience, we ask that anyone not directly involved in the performance be asked to leave the auditorium. If a script calls for a complete blackout, we ask that performers be fully rehearsed in moving in blackout. Please ensure that you are clear about the evacuation plan should the fire alarms sound. 4. Getting in, Setting up and Getting out Getting in is the process of arriving at the theatre and getting your performers, set, equipment etc. into the performance area. You will have agreed a time for getting in with the theatre officer. The theatre will not be available to you before this time. Once you have got in, we can move to setting everything up, arranging the stage and any sets, pointing Evan Rees July 2018 P a g e 3 Tech Guide for Schools

4 the lights, sound checking etc. We usually seek to open the auditorium 30 minutes in advance of the start of the show. All setting up must be complete before we can open the auditorium. So (for example), a get in time of 2.00pm with a show start of 7.30pm gives 5 hours for getting in and setting up. Its important that when agreeing the get in time, you are realistic about what s required to get everything in and set up. We also advise that you build in sufficient time for technical checks and some rehearsal. No matter how well you are rehearsed before show day, you are likely to find the need to make some last minute tweaks when it comes to using the theatre space. We would advise allowing at least enough time for a Technical rehearsal topping and tailing scenes but ensuring that all the cues work as planned. Ideally we like to have a Tech rehearsal followed by a full rehearsal. This really does help to ensure that things are smooth for the show. Getting Out is the process of breaking down the set at the end of the show and getting all your gear and performers out by the agreed time. This can be difficult. Everyone is tired but excited after the show and putting everything away again is the last thing on your mind. However, we do ask that you do all you can to stick to the agreed Get Out time. Again, be realistic about what s required. 5. Starting the show and moving between Acts and Scenes. You need to plan various aspects of the show starting and how to transition between Acts and Scenes. This sounds an obvious thing to say but its surprising how often companies arrive without having planned anything. Some of the questions to think of: Will you be using the curtains (tabs)? If so, then you will need to agree who will be operating them (it s a manual control in the wings). Use of the tabs can help re-enforce changes of Act, pace, mood etc. but can make a show seem bitty if overused. Its more common these days to leave tabs open but go to black or semiblack for changes. Think about what works for you. How will technicians know when to start? Or, will you start on their cue? In the tech box, we will need to know when to dim the house lights, when to cue the first track, when stage lights are to come up etc. We can provide radios to help with communications between the tech box, back stage and front of house, but you need to think about how it will work and who is in control of it all the stage manager role. The same consideration needs to be given to scene and act changes, especially for the interval. Evan Rees July 2018 P a g e 4 Tech Guide for Schools

5 How will the technicians be cued for sound or lighting changes if there isn t a script? Occasionally, a change needs to be made mid-performance (e.g. a performer falls sick) requiring a change in running order, deletion of a scene etc. Who makes the call on this and how will you let the technicians know what to do? Are you likely to want to make any announcements before, during or at the end of the show? If so, does the announcer need a microphone? Will they be on or off stage? How will they be lit? 6. Script or Running Order 7. Sound Our technicians will need something that will guide them through the performance and let them know where any sound or lighting cues occur. If the performance requires lighting or sound effects triggered by specific dialogue or actions on stage then a script will be required. This should indicate the cue e.g. Brian sighs and takes his hat off and the action required QLX 16 (lights to blue) Cue FX10. (Example tech script attached). {Q is often used as shorthand for a Cue, i.e. an action is required. LX is often used to denote a lighting cue whilst FX denotes a sound cue.} If the performance is more of a succession of musical and dance routines, a running order, indicating sound and lighting cues will work. (Example attached). However you do it, try to give us a map of the performance which tells us when you want a particular sound effect or piece of music, when you want a particular lighting state or when you want an image projected. It s really useful (sometimes essential) to have someone from the company, who knows the script or running order, sitting alongside our technicians to help with cues etc. A full list of our sound equipment can be found on our web site and we find that we can accommodate most needs. If however, you think you need something that isn t listed then please discuss this with us. We may be able to bring in something to meet your needs. If you bring in your own equipment, please check in advance that it is in full working order. We may not be able to effect repairs or arrange replacements on the day of the performance. Evan Rees July 2018 P a g e 5 Tech Guide for Schools

6 We are happy for you to bring in your own sound engineer or even cover this function yourselves if you wish to. We should point out though that even for a simple performance, managing the PA system requires some experience. It s not something that can be picked up in a few hours. We are equally happy for you to use our in house technical team and we don t charge extra for this. If you use our team, please consider the following points: If you are using pre-recorded music the Performing Rights Society (PRS) will usually require that a fee be paid to them in effect royalties. Many dance, music and theatre schools have their own arrangements with the PRS. If not, this is something you will need to discuss with the theatre officer. We do not keep a library of music at the theatre so we ask that you provide copies of any musical or sound effects tracks that you want to use. We can use most common formats of CD, DVD and BluRay. We can also use tracks stored on USB drives in most common formats. We advise that where possible, you check in advance that your CD or USB drive plays on our equipment. We can also play tracks from laptops, tablets and MP3 players provided that they have a suitable output socket. We can use; 3.5mm stereo jack sockets (commonly the headphone socket), 6.35mm stereo jack sockets, XLR outputs and RCA phono outputs. Using a laptop or tablet has the advantage of allowing us to see track names and the whole playlist in one view. There is also the advantage of being able to re-order tracks at the last minute if required. It really helps us if the tracks are recorded in the order in which they occur in the performance. Please remember that we won t necessarily know the music that you are using. We need a consistent numbering system so that Track 5 on a CD (for instance) is referred to as Track 5 in the script or running order. Cue Wonderwall won t always work for us. The auditorium and the stage have different acoustic properties. It is sometimes hard for performers to hear a track when on-stage even though it is quite clear in the auditorium. We can provide stage monitors to help overcome this problem. Commonly, the stage monitor will increase the on stage volume of the backing track. It can also relay back to performers their own voice if using microphones. Some people find monitors distracting, some want backing track only, some want backing track and voice. We suggest that you let our technical staff know whether or not you want to use monitors as soon as you can. Evan Rees July 2018 P a g e 6 Tech Guide for Schools

7 Microphones are probably the most troublesome element during the setting up phase and for sound management through the performance. We can provide up to 5 handheld radio mics, 5 lapel radio mics and a range of standard (wired) mics. Each microphone needs to be sound checked with each performer using it. Usually this is a straightforward process taking a few minutes for each mic / performer. Occasionally though a particular mic or voice will cause a problem and a little more time will be required. Please make sure that you allow some time for a full sound check. If a performance calls for use of a number of microphones used at different points, then we need a clear indication of which mics should be live and which should be muted at each stage of the performance. Sometimes, including this information in the script or running order can be confusing and its better to provide a separate microphone schedule (example attached). Remember that we won t know the names of your performers so instructions like Janet s mic up, John s mic mute won t help. If your performers aren t familiar with using microphones, it s worth spending some time with them going through the basics. This can often be done as part of the sound check. Do you want Walk In music, i.e. music to be played as background in the auditorium whilst the audience are coming in and settling down? 8. Lighting Good lighting can enhance a performance no end, and yet it sometimes given little consideration before the performance. We advise that consideration be given to how you want your show lit, alongside all other aspects. We are happy to work with lighting designers and to a specific lighting plot. We are also happy to work with your lighting technician if you choose to bring one in. Equally, we are happy for you to use our in-house technicians. We are used to schools arriving and asking us to do whatever we can with lighting. We are happy to do this but think you can get more out of us if you consider the following: For each scene / track / dance number, what feel are you looking for? Is it sad or happy? Is it slow or fast? Do you want something calming or something active with lots of movement? Evan Rees July 2018 P a g e 7 Tech Guide for Schools

8 Are there particular colourways that you want? What colours would complement performers costumes or sets? Do you require any specials, i.e. lights that perform a specific function like spotlighting a performer? These are easily set up but will require us to manually point and focus lights in the right place. It will often also require that we mark the stage to show where the light is focussed so that a performer knows where to stand. Specials can t be set up or adjusted during a performance. How would you like the house (auditorium) lights? It s common for them to be off during the performance but they can be put on if there are bits of audience participation. Let us know what you want. Do you want us to use haze? Haze is great during dance and musical numbers. It brings out the colour of the lights and helps delineate beams of light. It can also be used to create a mood for a piece of drama. We use enough to create a light haze across the stage but not so much as to make it look like a peasouper. It adds to the drama of the set. We use water based haze (rather than oil) but some performers don t like it. Please advise us whether or not to use haze. Our lights are VERY bright. We keep lighting intensities to a minimum but a reasonable level is required to avoid a dim and dingy looking performance. Performers will not generally be able to see into the auditorium. If not used to stage lighting, some familiarisation would be advisable. If you are providing a script with a number of defined lighting states and cues then remember that these will need to be programmed in to our lighting controller. The more cues, the more time is required. Programming the lighting desk can usually take place whilst the rest of the set-up is progressing but please ensure that the lighting tech is briefed well in advance. Our standard assumption is that all action will take place on stage and our lights are focussed according to this assumption. If you wish to have the area immediately in front of the stage or any other part of the auditorium lit then we will need to know in advance. If you wish to use any of your own lighting or effects and have it controlled from our lighting desk please be aware that it will need to be DMX compatible. DMX is a standard digital interface between lighting units, effects machines and lighting controllers commonly used in theatres. Non DMX fittings can t be controlled from the lighting desk. We can t, generally, provide a follow spot. Evan Rees July 2018 P a g e 8 Tech Guide for Schools

9 9. Projection We are able to project images / video etc. onto either onto a 5M screen which can be lowered mid-stage or onto a white rear cyclorama (mounted on the rear wall of the stage. Please discuss projection with us if you want to use this facility. Adding projected images can enhance a performance but needs to be carefully managed so that we aren t shining powerful projector lamps in performers faces, so that sets and performers don t interfere with the projected image and to get the balance of projection and stage lighting right. If not using standard DVD or BluRay discs, the projectors need to be driven by a laptop or tablet with a VGA or HDMI output. Evan Rees July 2018 P a g e 9 Tech Guide for Schools

10 EXAMPLE OF A PERFORMANCE SYNOPSIS Bagworth Academy of Music, Dance and Theatre Summer show 1 st June 2018 Synopsis This is BAMDT s summer showcase event. The show will give our students the opportunity to demonstrate what they have learnt over the last year, across a range of disciplines. The show will include a short one act play, a few songs and a number of dance routines to backing music. Show start: 7.00pm ACT 1 (approx. 45 minutes) Scene 1: Around the World in 8 minutes. Pupils perform a cut down version of Jules Verne s Around the World in 80 days. Stage set consisting of two tables and 4 chairs. No musical accompaniment. Scene 2: Song. James sings If I ruled the world to backing track. Scene 3: Comedy sketch. Natalie and Balvinder s take on Goodness Gracious Me INTERVAL (20 minutes) ACT 2 (approx. 40 minutes) 6 Scenes, each consisting of a class performing a dance routine to a backing track. Scene 7: Ensemble piece whole school sings Wonderful World to backing track. Evan Rees July 2018 P a g e 10 Tech Guide for Schools

11 EXAMPLE OF A RUNNING ORDER Bagworth Academy of Music, Dance and Theatre Summer show 1 st June 2018 # Time Item Stage Sound Cue LX Cue 1 Pre set Tabs closed Walk In music Tab warmers Curtain Up ACT 1 Tabs open Fade out Walk In Dim House lights & Tab Warmers 3 Scene 1 Around the World in 8 Tables & chairs LX1 warm wash minutes on stage 4 Scene 2 Song, If I ruled the world Clear stage Cue Track 1 LX2 blues, haze 5 Scene 3 comedy sketch Goodness Gracious us. 2 chairs on stage LX3 Sharp white INTERVAL Tabs closed Interval music Fade up House lights Tab Warmers Curtain Up ACT 2 Tabs open Clear stage Fade out interval music House lights and Tab Warmers out throughout 8 Scene 1 Year 1/2 Ballet April Showers Cue Track 2 LX4 spring sunshine 9 Scene 2 Year 3 Acro Billy Jean Cue Track 3 LX5 Red, blue, 10 Scene 3 Modern Pray you catch me - accompanied by Natalie singing Cue Track 4 purple - active LX6 Moody Blue Evan Rees July 2018 P a g e 11 Tech Guide for Schools

12 11 Scene 4 Year 3 Tap Me and my Shadow Cue Track 5 LX7 Black box harsh white from front 12 Scene 5 Ballet - Oxygene Cue Track 6 LX8 Blues slow movers. Light haze 13 Scene 6 Modern Gold Digger Cue Track 7 LX9 Re and Gold. Dynamic 14 Scene 7 Acro Can you feel the love tonight Cue Track 8 LX10 Warm wask. Movers and patterened gobos 15 Tabs closed Tab warmers up 16 Tabs open Tab warmers down 17 Scene 8 - Ensemble song Wonderful World Cue Track 9 18 Wait for Curtain Call End of show Tabs closed Cue walk out music LX11 Bright lights, movers, star cloth House lights up Evan Rees July 2018 P a g e 12 Tech Guide for Schools

13 EXAMPLE OF A MICROPHONE SCHEDULE Bagworth Academy of Music, Dance and Theatre Summer show 1 st June 2018 Microphone Schedule # Item Sound Cue Mic 1 Mic 2 Mic 3 Mic 4 Mic 5 Mic 6 Mic 7 Mic 8 1 Pre set Walk In X X X X X X X X 2 Curtain Up ACT 1 Fade out X X X X X X X X walk in 3 Scene 1 On On On On X X X X 4 Scene 2 Track 1 X X X X On X X X 5 Scene 3 X X X X X On On X 6 INTERVAL Int. Music X X X X X X X X 7 Curtain Up ACT 2 X X X X X X X X 8 Scene 1 Track 2 X X X X X X X X 9 Scene 2 Track 3 X X X X X X X X 10 Scene 3 Track 4 X X X X X X X On 11 Scene 4 Track 5 X X X X X X X X 12 Scene 5 Track 6 X X X X X X X X 13 Scene 6 Track 7 X X X X X X X X 14 Scene 7 Track 8 X X X X X X X X 15 Tabs closed X X X X X X X X 16 Tabs open X X X X X X X X 17 Scene 8 Track 9 X X X X X X X X 18 Curtain Call X X X X X X X X 19 End X X X X X X X X Evan Rees July 2018 P a g e 13 Tech Guide for Schools

14 David J. Simon P. Siobhan A. Nisha A. James J, Natalie O. Balvinder K. Natalie S. TBA for announcements Mic 1 Lapel Mic Mic 2 Lapel Mic Mic 3 Lapel Mic Mic 4 Lapel Mic Mic 5 Vocal Mic & Stand Mic 6 Handheld Radio Mic Mic 7 Handeld Radio Mic Mic 8 Handheld Radio Mic Mic 9 Handheld Radio Mic Evan Rees July 2018 P a g e 14 Tech Guide for Schools

15 EXAMPLE OF A PAGE OF TECHNICAL SCRIPT King Lear Evan Rees July 2018 P a g e 15 Tech Guide for Schools