PRESENTERS INFORMATION PACK 2014

Transcription

1 BY PRESENTERS INFORMATION PACK 2014

2 CONTENTS! COMPANY PROFILE! ABOUT THE SHOW! BIOS! PERFORMANCE SPECIFICS! AUDIENCE ENGAGEMENT! MARKETING! TECHNICAL RIDER! SPONSORS

3 COMPANY PROFILE LissaJane Dance is a project based dance theatre company based on the Sunshine Coast. Although the company is new (premiered in 2013), at its helm is choreographer Melissa Lanham a contemporary dance theatre artist with a career spanning 25 years working extensively here and in the U.K. She has worked on many social inclusion projects and main stream dance company productions as a dancer herself, then fulfilling roles such as dance development artist for (DanceEast- British Arts Council), community dance artist/ teacher on independent projects and ultimately as a choreographer. She brings in and works with well respected designers (see below) and intuitive dancers from all over the country to bring cross-art form theatre works of substance to Australian audiences. 3

4 ABOUT THE SHOW SHOW SYNPOSIS Vincent is a dance theatre work about the life, loss and love of Vincent Van Gogh and the mental illness that plagued a man that would become one of the most revered artists in history. It is an extraordinarily moving dance theatre work that focuses on the love between Vincent and his long suffering brother Theo who supported him financially and emotionally. All of the dialogue used in the work is taken directly from the more than 900 letters that he wrote to his brother, whilst the work also addresses the dysfunction that was apparent with the female counterparts in his short life, finally culminating in the devastating mourning that Theo experienced upon the death of his brother. The work seeks to address his bipolar personality, so whilst there is much darkness expressed in the show, there is also much euphoria and sheer joy that this artist must have experienced whilst painting. 4

5 ABOUT THE SHOW BACKGROUND HISTORY Several years ago the choreographer had the opportunity to see one of his paintings up close, and looking at his work is a sight to behold. He leaves the edges sparse and raw so that you see the underlying canvas. The painting moves you inward to the centre with broad brush strokes thick with paint so that one can see this man s life in its reality. Upon knowing that she had the correct dancers and the right designers to fulfil her vision for the work, she was given financial assistance by RADF and Arts Queensland to undertake a concept development and then a creative development. LissaJane Dance was then Artist in Residence at Lind Lane Theatre for June 2014 to bring the work to its realisation. Since June, there has been continuing interest in Vincent to tour with the Van Gogh Museum in Amsterdam also expressing interest in the show. 5

6 ACKNOWLEDGEMENTS! Choreographer - Melissa Lanham! Lighting Designer - Travis Macfarlane! Set Design - Daniel Ampuero! Dancers - Michael Smith, - Andrew Haycroft - Chloe Lanham! Head Electrician - Daniel Goz Gosling! Composer - Sean TInnion! Costume/Makeup Artist - Melanie Jeffers! Dramaturg - Peta Beattie! Production/Tour Management - GoslingProductions 6

7 BIOGRAPHY ARTISTIC DIRECTOR & CHOREOGRAPHER MELISSA LANHAM Melissa has had a long and diverse career in dance spanning over 23 years in the dance industry. She started her professional career as a dancer working with some of Australia s foremost independent contemporary dance choreographers and commercial artists. For several years she danced in project works for Darc Swan, Kinetic Energy, Double Vision, Mira Mansell, Sue Spence, Annette Eyland and Krissy Coltai. In commercial work she danced on television as a back-up dancer for Julie Anthony, Karen Knowles, the Australian Opera and the Tommy Tycho Orchestra. She then moved into independent work after attaining a post Graduate qualification in Movement Therapy. Melissa received the Maroochy Shire Achievers Cultural Award and moved to England and worked as a Dance Development Artist for the British Arts Council (DanceEast). Whilst in England, she worked with Henri Oguike, Britten Sinfonia and Bare Bones on their regional tours and was mentored by Walli Meir. She choreographed and danced on a film project for Bury St. Edmunds Gallery U.K, led and facilitated community projects in London and East of England and choreographed for many youth dance companies in the U.k. Melissa now runs her own project based dance company LissaJane Dance based on the Sunshine Coast and works as a freelance Dance Artist nationally and abroad. 7

8 BIOGRAPHY LIGHTING DESIGNER TRAVIS MACFARLANE Travis is a Melbourne based lighting designer. He trained at NIDA and later at WAAPA and has been working professionally for over 15 years. His recent design credits include: LAST MAN STANDING - Debra Byrne and Nick Barker, WEST SIDE STORY Noosa Arts Theatre, FIDELIO and LA BOHEME - Melbourne Opera; HENRY IV - Australian Shakespeare Company, JASON BYRNE - Australian tour, MEOW MEOW Cabaret - Australian tour, OUTSIDE IN Link Dance Company, THE LARAMIE PROJECT - WAAPA, CRAZY FOR YOU - Associate lighting designer to Gavin Swift, SERENADE BALLET by Balanchine re-mount for New York City Ballet, The Noosa Longweekend Festival, The Melbourne International Comedy Festival, The Melbourne Festival and Ballet LAB Melbourne 8

9 BIOGRAPHY DANCER ANDREW HAYCROFT (Playing VINCENT ) Andrew received his B.A (Dance Perf.) from Adelaide College of the Arts in 2012 and during his time there he worked with internationally renowned artists such as Gabrielle Nakaville, Kristina Chan, Paul Gazolla, Peter Sheedy, and Xiaoxiong Zhang. Upon graduating Andrew was contracted by choreographers in Adelaide including Garry Stewart, Larrisa McGowan, and Alexandra Know, as well as performing a season with Remnant Dance. Andrew is a member of South Australian Dance Company, OnePoint 618 and in-between seasons he performs with independent artists throughout Australia including Melissa Lanham 9

10 BIOGRAPHY DANCER MICAHEL SMITH (Playing THEO ) Michael is currently undertaking his Honours research year at Queensland University of Technology, Majoring in contemporary dance. His research involves collaboration with an Interactive Visual Artist and has performance outcomes in the Ars Electronica Festival, Austria. Throughout his studies and career Michael has had the opportunity to work with esteemed choreographers such as Lisa Wilson, Daniel Riley McKinley, Leigh Warren, Paul Selwyn Norton, Natalie Weir, Lizzie and Zaimon Vilmanis, Vanessa Mafe-Keane, Gareth Belling and Melissa Lanham. His most recent developments include a choreographic lab with the Aboriginal Centre of Performing Arts, Gaga Technique Workshops with Batsheva Dance Company and STRUT dance, as well as performances in This Is Not Art- Crack Theatre Festival, Dance Indie Dance- Ausdance Dance Week, Anywhere Theatre Festival, Brisbane Emerging Art Festival, and Outcast Opera Company 10

11 BIOGRAPHY DANCER CHLOE LANHAM (Playing THE PSYCHE/THE WOMAN ) Chloe is a contemporary dance artist, having recently graduated from QUT with a BFA in Dance Performance. As part of QUT s Essentially Dance performances, she has worked with choreographers such as, Leigh Warren, Jane Pirani, Natalie Weir, and Shaaron Boughen. In 2014 Chloe has collaborated and performed in works by Lisa Wilson, Melissa Lanham, Gareth Belling, Zaimon and Lizzie Vilmanis, Leisel Zink and Courtney Scheu. Her interest is in improvisation and the performer s collaborative process, she also intends to delve further into the link between dance and physical theatre. Chloe is currently based in London and returns regularly to Australia to perform on continuing contracts. 11

12 BIOGRAPHY SET DESIGNER DANIEL AMPUERO Daniel is a graduate of the West Australian Screen Academy and the Western Australian Academy of Performing Arts, having undertaken studies in directing and production design. In 2012 Daniel was involved with the Perth Indigenous theatre company Yirra Yaakin, designing both set and costumes. After having helmed the production designer role on many short films Daniel was recently invited to design the costumes for Broken Contracts, An independent Perth film starring Christopher Morris (Offspring) and Esther Anderson (Home and Away). Currently, Daniel is focusing on personal projects which include writing and illustrating children s story books and developing an animated fantasy series. 12

13 BIOGRAPHY PRODUCTION MANAGER & HEAD ELECTRICIAN DANIEL GOZ GOSLING Daniel Gosling, known through the industry as simply Goz, has been working in live production for the last 14 years and runs his own freelance production management and design company GoslingProductions. Starting off in theatre in Singapore at the age of 8, Goz quickly became a known name in the technical theatre world of semi-profesional theatre in Singapore, working and consulting for theatre groups and schools before returning to Australia. A successful lighting programmer, stage manager and production manager, Goz has travelled extensively throughout Australia, South-East Asia and the United Kingdom working on countless events from dance, theatre, high end corporate, circus, rock n roll, television and live broadcast. Some of his recent credits include being Production Manger for Vincent, Production Manager for the Melbourne Ballet Company, Assistant Head LX for the Victorian Opera, Production Manager and Lighting Designer for KuDeTa Bali s high season and LX system engineer for hundreds of shows yearly. 13

14 COMPOSER SEAN TINNION BIOGRAPHY Sean Tinnion is an award winning and two time nominated orchestral and electronic film composer, currently based in the scenic location of Perth, Western Australia. He has received his Bachelor of Music Composition and Technology degree from the Western Australian Academy of Performing Arts (WAAPA) conservatorium. Originally born in Liverpool, England, he started out at the early age of five where his interest in music began at the piano which has evolved his vivacity around his passion for music ever since. In the late 2004, emigration to Australia with his family had taken place where his musical skills had the opportunity to develop further. In late 2009, he entered the ACMF (Australian Children s Music Foundation) National Song Writing Competition which he claimed 1st place nationally for 'Best Instrumental Composition'. On October 24th 2013, Sean won Channel 9's 'Best Original Soundtrack' at the WA Screen Academy Awards for the short film 'All That Matters.' He was also nominated twice at the th Annual Screen Academy Awards for his scores to the short films 'Luca & Lola' and again for 'All That Matters.' Scores to many short films have gained recognition from upcoming producers and directors in Perth and London, but to add to his expertise, he also specializes in animation collaborations, adverts, games, fashion launch videos and more recently, dance. His soundtracks and compositions are mostly orchestral influenced, mixed with electronics, which has been said to resemble Hollywood Film Music." 14

15 PERFORMANCE SPECIFICS DURATION 1 (one) Act, 55 (fifty-five) minutes with no intermission SUITABLE VENUES The show is better suited to a proscenium arch theatre however it can be adapted to an art gallery space if needed. MAXIMUM NUMBER OF PERFORMANCES PER WEEK 5 (five) performances MINIMUM BREAK BETWEEN PERFORMANCES Preferably one per day, but if there is 2 (two) performances in one day then approximately 4 hours. LICENCING AGREEMENTS Not Applicable APRA OBLIGATIONS Vincent has an original score so there are no APRA obligations 15

16 PERFORMANCE SPECIFICS TOURING PERSONNEL The touring party consists of 6 (six) people. Name Daniel Goz Gosling Travis MacFarlane Melissa Lanham Andrew Haycroft Michael Smith Chloe Lanham Role Tour & Production Manager/ Technical Crew Stage Manager/Technical Crew Artistic Director/Workshop Facilitator Dancer Dancer Dancer PERFORMANCE HISTORY Year Venue # Performances 2014 Lind Lane Theatre Lind Lane Theatre 1 16

17 AUDIENCE ENGAGEMENT OVERVIEW Vincent has the potential to appeal to a broad demographic from ages 12 and onwards with various subject matters able to be addressed in the form of master classes and workshops. The touring cast who are all experienced workshop facilitators can deliver these. There is a full-length version of the show available along with teacher s notes. There is also a longer residency called Starry Night available, where the focus will be on, and combining dance theatre and visual art; in which the artists work with the local visual art community and schools to deliver a full week long series of workshops culminating in an exhibition evening and performance by the local community. This will form part of the cultural legacy of Vincent. COMMUNITY ENGAGEMENT The long term vision for Vincent is to see a large amount of community engagement. For these purposes, secondary school children will be reached via local school networks, dance school networks, and with assistance from Ausdance QLD with their associated membership base. For art specific purposes, local art galleries and galleries internationally will be used for a mutual audience for demonstration and dance facilitation. 17

18 AUDIENCE ENGAGEMENT WORKSHOP 1 DETAILS: Vincent Master Class Workshop Duration: 1-2 hours with the option of a ½ day schools workshop and dance school master classes taught by the artists and the choreographer. Description: Workshops would include dance development and technique in contemporary dance/physical theatre/ choreographic ideas and processes around the themes of Vincent to coincide with the senior dance curriculum. The culmination of each workshop usually ends in a presentation which can be filmed for documentation purposes. Outcomes: LissaJane Dance aims to teach workshops in which the participants have the opportunity to access techniques in theatre and dance skills via engaging with the imagination therefore applying a solid grounding in this craft which will enable the freedom to dream in reality. Cost: There is a one off fee applicable for workshops which will be negotiated according to the number of participants. 18

19 AUDIENCE ENGAGEMENT WORKSHOP 2 DETAILS: Starry Night Overview: The artists and choreographer arrive in a town a week before an event and in collaboration with community groups/ galleries and schools, create a performance and an art exhibition around the night sky and the local environment and its landmarks. Therefore focusing on what is specific and individual to that town. The whole project will use dance, visual art, site specific work and installation around Vincent Van Gogh s Starry Night painting. The culmination evening will be an exhibition opening of local artwork produced during the residency and a performance by local dance students and community participants. Cost: A one-off fee to be negotiated with the tour manager, along with the provision of accommodation for the touring artists. Target Audience: A minimum of 15 dance students and 10 visual artists (local artists, art students, dance students, semi-professional and professional artists) Venue: Multi-purpose venue with indoor and outdoor areas. Lighting/Sound: Basic lighting of performance and exhibition areas. PA system, speakers, SD desk, ipod connection. Transportation: 1 x car suitable for a touring party of up to 6 people will be required during this workshop. 19

20 MARKETING MARKETING COPY One line: This is a love story between a man who poured his emotions into his masterpieces and his beloved brother who tried to keep him from harm. Short: This is a story about Vincent and his brother Theo. He was a man of far reaching and titanic emotions that he poured into his paintings, which then spilled into his personal life. Never fully at ease in company, his only closest and dearest friend was his brother Theo who loved him regardless. This work is an interpretation of the internal workings of his mind from the female voices in his head to the guilt ridden reactions of his words to Theo resulting in incredible masterpieces. With a cast of three and an amazing set and original score, this work is set fly. Extended: This is a story about Vincent and his brother Theo. He was a man of far reaching and titanic emotions that he poured into his paintings, which then spilled into his personal life. Never fully at ease in company, his only closest and dearest friend was his brother Theo who loved him regardless. This work is an interpretation of the internal workings of his mind from the female voices in his head to the guilt ridden reactions of his words to Theo resulting in incredible masterpieces. With a cast of three and an amazing set and original score, this work is set fly. This is a brand new work that has already garnered interest from the Van Gogh Museum in Amsterdam and is set to tour this country and Europe. 20

21 MARKETING SUMMARY MARKETING Vincent is a brand new work on the Australian Theatre scene and is set to tour. We have a portfolio of resources to support the selling of the show which includes: - promo video, images and hero shots, - press releases, reviews/quotes - accompanying workshops/master classes MEDIA QUOTES 1. 'As an independent reviewer, I found the piece to have a profound impact. The calibre of talent was outstanding.' Dancehub 2. 'It s a fluid professionally finished production. Look out for the second coming.' XsEntertainment. 3. 'A touching portrayal of a talented, tortured soul and the love between two brothers - an evocative and heartbreaking work ' Sharon Grimley - Visual Artist AUDIENCE REVIEWS 'This work has to be seen by as many people as possible 'A very professional production- creative choreography, emotive lighting, a simply incredible set, and talented dancers 'Absolutely amazing- feel privileged to have seen it A dance theatre work that crosses genres - fusing fluid choreography, text, visual art, and conceptual design to create a full bodied work! 'Intelligent! 'Brilliant and intense A must for all lovers of art 'A pure depiction of mental illness and genius 21

22 MARKETING COLLEAGUE RECOMMENDATIONS A dance theatre work that crosses genres - fusing fluid choreography, text, visual art, and conceptual design to create a full bodied work! Kym Stevens Lecturer, Dance Education,Queensland University Technology (Ph ) Ann McLean Director, AusdanceQld (Ph: ) VIDEO LINKS Password: vincent14 *** THIS VERSION IS THE FULL VERSION THAT IS FOR PRIVATE VIEWING ONLY AND THE LINK IS NOT TO BE SHARED ON PUBLIC FORUMS *** A 10 minute highlight reel of Vincent including quotations from audience members and reviews A 1 minute shorts reel of Vincent from 2014 Live Performance Shots featuring Michael Smith, Chloe Lanham, Andrew Haycroft 22

23 MEDIA GALLERY There are a variety of other images available please see the choreographers website : 23

24 MEDIA GALLERY 24

25 TECHNICAL RIDER Production Contact Details Production & Tour Manager Daniel Goz Gosling 83 Shannon Street Box Hill North VIC 3129 AUSTRALIA Phone: (+61) Artistic Director & Choreographer Melissa Lanham 1 Oxleigh Cresent Nambour, QLD 4560 AUSTRALIA Phone: (+61) lissajane9@gmail.com Touring Party 6 x Personnel 1. Three (3) Dancers 2. Two (2) Crew Tour Manager/Technician & Stage Manager 3. One (1) Artistic Director / Workshop Facilitator 25

26 TECHNICAL RIDER NOTE TO PROMOTERS AND VENUES The promoter/venue must take professional advice from technical experts and pay for and supply what is necessary at each venue to install the technical equipment laid out in this Technical Rider for Vincent. We ask that a complete package of the Venues Technical Specifications be forwarded to the production manager at least 60 days prior to the arrival of the Vincent at your venue. The package should include:! a to-scale floor plan/technical drawings (a CAD Plan, if possible) of the venue. (Front/Top/Side elevations)! a centerline section (with accurate fly information if applicable) of the venue The local promoter and/or venue is responsible for the supply of the following items listed below: Accommodation, Travel, Local Transfers/Transport, Touring Production Freight, Venue and all Stage Requirements, Local Crew as requested, All Technical Requirements as specified, All Production Requirements as specified. The local promoter/venue must pay for all local costs including but not limited to the Marketing, Promotions, Venue Hire and local Front of House Staffing. 26

27 Technical Summary TECHNICAL RIDER The following technical specification is to be used as a guide to Vincent s requirements when touring to your venue. Some elements of this specification are flexible as long as specific discussion is had with the production manager at the contact details above with adequate prior knowledge. This show has been rehearsed and developed to suit a large range of both theatrical applications and sizes as well as seating configurations. Performance Information The total running time of Vincent is just under 1 hour. There is no interval during the show. Doors should open approximately 20 minutes prior to the advertised starting time after clearance is given from the touring stage manager. 27

28 Staging Requirements Stage Size TECHNICAL RIDER Vincent requires a minimum performance area of 9m x 7m (setting line to Cyc) but larger spaces are preferred. Vincent also has an adapted version that can be performed in a smaller space such as an art gallery space but this is to be discussed with the production manager if necessary. Vincent requires the full stage to be covered in professional grade Tarkett. Please advise the production manager as to the tarkett you have available or alternative arrangements will have to be made. Total Stage area (at least) 9m (wide) x 7m (deep), of which: Performance area depth 7m Proscenium height 6m (minimum) Wing Space 3m each side Rear cross over Not Required The proscenium needs to be clean and tidy. If available, black border and legs should be brought in to create a clean visual. 28

29 Staging Requirements Fly Lines TECHNICAL RIDER A suitable quantity of available fly lines should be available with a minimum cradle weight of 250kg/bar. Vincent requires at least the following lines: 4 x Overhead LX bars (Weights to be advised) 1 x US Cyc Bar DS, MS & US Legs 4 x LX borders 1 x OP Pano Bar 1 x P Pano Bar Set Vincent tours with several pieces of set equipment in which venue mechanists will be required to help assemble once on site. These include but are not limited to: 1 x Painted CYC Drop (measurements TBC) 2 x Large set pieces on dollies Left Panel 2500 x 500 x 4000 Right Panel 2200 x 500 x x Easel on dolly 1200 x 900 x x Table 1200 x 500 x 80 1 x Chair 450 x 450 x x packer of costumes 29

30 Lighting & Atmospherics TECHNICAL RIDER Vincent tours with a very specific lighting plot that must be strictly adhered too. Any changes or requests for changes must be passed through the production manager in adequate time before the arrival of Vincent at the venue. The lighting plot is attached at the bottom of this specification. Vincent tours with its own FOH lighting desk in the way of a GrandMA2 Command Wing with full tracking backup. A cat 6 connection to the dimmer room or two (2) universes of copper data are to be provided at both the pre-show tech run position in the auditorium stalls and at the back of the room at the audio control position (this may also be in a control room depending on venue FOH audio position) Haze is used extensively throughout the show, so adequate smoke isolation for the stage, backstage and auditorium should be arranged prior to arrival on site. This cost is to be born by the venue. 30

31 Lighting & Atmospherics TECHNICAL RIDER The venue should be able to provide the following equipment to supplement the touring lighting package: 1. At least 48 channels of 1 to 1 dimming (Australian standard 240V, 2400W, 10A per channel) 2. 1 x additional 32/40amp 3 phase outlet for hard distribution 3. Cat 6 or copper DMX patching as outlined above x 750W profile fittings (Source 4 19deg preferred) 5. 6 x 650W Fresnel fittings on H-stands x LED Pars or moving LED fixtures of adequate quality 7. 8 x ground booms or flown ladders (2m high minimum) x boom clamps 9. Adequate FOH positions & patching for OP/C/P Wash s and specials 10. Adequate DS floor positions & patching for specials 11. Adequate boom positions and patching for side booms including DMX 12. Adequate overhead LX bar patching for fixtures as per plan, including DMX 13. Unique 2 or DF50 Hazer with venue isolation 14. Gels as per the colour cut should also be provided by the venue. Should issues arise in providing the quantity or specific gel items listed, please contact the production manager in ample time. Vincent will be touring the following in its LX package. 1 x GrandMA2 Command Wing FOH kit & Backup 12 x Moving lights and associated cabling Some additional Gels 6 x Birdies 31

32 TECHNICAL RIDER Sound Vincent requires an adequate sound system for music playback that covers the entire auditorium with even and balanced coverage. This sound should be able to reach a level of 110dbA at the FOH mixing position. Please advise the production manager on the in house PA in your venue along with any specifications of amps and processing Vincent tours its own show computers running Qlab with an external PCDI soundcard. Lighting and audio is both controlled from the audio FOH position within the rear section of stalls. The venue is to ensure that seats are allocated and not sold for this position, unless discussed with the production manager prior to arrival on site. Vincent also tours some radio microphones, which will need to be patched in onstage, in either the P or OP wing, and sent to FOH. Adequate fold back is required onstage for the dancers. Fold back must be patched via a separate EQ to an auxiliary send from the FOH console and can either be flown above the stage or positioned in the wings. If the stage is deep, an additional set of fold back speakers of the same send should be placed upstage also. The FOH sound console should be a minimum of 24 channels with 6 auxiliary sends and of known brand A CD player or backup playback device is also required at FOH. 32

33 TECHNICAL RIDER Sound The input list is listed below: Inputs 1. Main Playback L 2. Main Playback R 3. Backup Playback L 4. Backup Playback R 5. RX 1 Vincent 6. RX 2 Theo 7. RX 3 Psyche 8. VOG Outputs 1. Left 2. Right 3. Auxiliary 1 Fold back 4. Auxiliary 2 Fold back backup 5. Auxiliary 3 Record L 6. Auxiliary 4 Record R 33

34 TECHNICAL RIDER Dressing Rooms & Wardrobe One dressing room to accommodate three dancers (2 x male, 1 x female) is required. The dressing room should have adequate bench space, chairs, bins, mirrors with make up lights, air conditioning/ heating, lighting and bathroom/shower facilities. Hot water is essential in the dressing room. Access to a washing machine, dryer, iron and ironing board is also required. In addition to this, the provision of a full length mirror and 2 stand fans would also be appreciated. Transport & Freight All touring components of Vincent can be transported by a standard three-ton (3T) truck. A full list of freight is available upon request. Bump In, Bump Out & Show Requirements Before arrival into the venue, please ensure the following venue information is provided to the production manager: Plans of the venue showing top view, front and side elevation Standard lighting plan Standard fly line plot Venue technical specifications 34

35 Staff Requirements TECHNICAL RIDER For the duration of bump in we will require 1 x Sound/Lighting technician (to patch audio and assist with LX) 1 x Fly man/mechanist (this can also be a member of technical crew for smaller venues) 1 x Lighting technician (for bump in and focus) During the tech period we will only require 1 x technician to be on standby for any trouble shooting or problem solving. We request that the person is adequately knowledgeable in all areas lighting, sound, flies etc. Show call crew are 1 x technical supervisor. Vincent tours with a stage manager and technician. The typical production schedule of Vincent will allow for 1 day of bump in and tech checks, with the show ready to go at the end of that day. A typical show day can consist of a matinee and an evening performance. 35

36 LIGHTING PLOT 36

37 SET DESIGN PROPOSAL 37

38 SET DESIGN PROPOSAL 38

39 SPONSORS 39