Uprising & The Art of Not Looking Back

Transcription

1 Technical Production Rider Uprising & The Art of Not Looking Back For venues in mainland Europe Correct as of th March 0

2 Uprising & The Art of Not Looking Back Technical Production Rider HOFESH SHECHTER Uprising & The Art of Not Looking Back is a mixed bill presentation of two works with one interval; the first, Uprising, for male dancers, the second, The Art of Not Looking Back, for female dancers. NB: An excellent quality blackout and a high quantity of haze are essential to the running of this show, please be in touch as soon as possible if you have any concerns about light spill from the auditorium onto stage or if you have limited or no control over the venue airhandling/conditioning during set up, rehearsal or performance.. Staging. The space The size of the performance area is adaptable and will vary depending on the venue. We require a sprung or semi sprung wooden floor with a black vinyl dance floor (eg: Harlequin or Marley). The stage surface must be smooth, level and clean. The optimal performance area would be 0m x 0m, however the performance is adaptable. We require the surrounding wings and upstage areas must be clean and clear of any flight cases, ladders, un-used equipment, and anything that could act as a trip hazard. The same performance space is used for both Uprising and Art Of Not Looking Back.. Staging and Set Uprising uses no masking. The theatre space is opened up to reveal the back wall and wings, and any flying machinery etc. There is a black dance floor, with the booms and one lighting bar flown in fully visible to the audience. Art Of Not Looking Back is set in a white box, with grey dance floor, white plastic cyc and white solid german masking running up and down stage either side, with entrances upstage and downstage. These walls are constructed from a series of serge and wooden masking flats. The stage is reset during the interval between pieces (usually 0 minutes), where the Uprising lighting bar is flown out, grey dance floor is laid, the cyclorama and groundrow are flown in and the white walls constructed, as well as all other tasks specific to each venue as necessary.. Black Out It is essential that we are able to achieve a good blackout in both the auditorium and on stage throughout both pieces. All exit signs, lights, working lights etc in the house and on stage should be either reduced to the lowest safe level allowed, or switched off totally in order to facilitate this. Any local authority permissions should be sought, prior to the company s arrival, to assist with this. Where a total blackout can be achieved during the performance, the company agrees to illuminating any exit or running-man signs pre- and post-show and during the interval. The production will not be performed without an excellent blackout. Uprising & The Art of Not Looking Back Technical Rider Page of

3 . House curtain and flying The main house curtain/tabs will be used at the top and tail of each piece (before and after). Excluding the house curtain there is no live flying required during the performance, in view of the audience. There are some pieces that must move during the interval turnaround. The parbar (Lx) is deaded at +000mm from the stage floor for Uprising, and is flown out and gridded out of view for The Art of Not Looking Back. The white plastic cyclorama, and the assymetric flood groundrow (Lx7b) for The Art of Not Looking Back and must be gridded out of view for Uprising and flown in to ground height during the interval. Control of all flown pieces should be at the side of stage and will be cued by the Stage Manager.. Working temperature The company requires that the stage, dressing rooms and other backstage areas be heated to and maintained at a minimum of +.C for the entire duration of the dancers stay. You must maintain relative air humidity at that temperature between 0-70% at all times. Uprising & The Art of Not Looking Back Technical Rider Page of

4 . Lighting A venue specific lighting plan will be supplied following full consultation with your technical team at least weeks prior to the performances. A generic lighting plan is included in the appendix section of this rider.. Required Lighting Stock x ETC Source Four (Senior) 9 70w x ETC Source Four (Senior) 70w 8x ETC Source Four Zoom /0 70w x kw Fresnel x kw Fresnel 7x kw Fresnel x PAR CP 8x kw Assymetric Flood Four Cell x kw Assymetric Flood Single Cell x Cell (x) Molefay x MDG Atmosphere APS The lighting equipment is essential for the design of the piece and any substitutes must be agreed in advance of the fit up.. Control We tour a lighting control system (ETC Eos family & Net), which is pre-programmed with all the cues & timecodes for the show and is triggered by MIDI show control. The primary desk will be positioned at the rear of the stalls(/orchestre) next to the sound desk for the duration of the fitup and performances. A second backup desk will be positioned onstage or in the auditorium for the duration of the fitup, and then beside the primary for the performances. This is networked to the primary via ethernet. We require x 0v 0Hz (A or Schuko connector), located at FOH control position at the rear of the stalls, and onstage for the duration of the fitup. We require x DMX feed to your dimmers, in the form of a male pin XLR connector for our network to output to your dimmers at the FOH control position. (If you have any doubt as to the connectivity of this desk to your dimmers please let us know as soon as possible).. Pre-rig A lighting pre-rig should be carried out, where possible, to hang, power, flash out, colour, and create a patch sheet/plan from the company s venue specific lighting plan in advance of the company s arrival fot the first day of fit-up. Any costs incurred as a result of this should be met by the presenter.. Haze We require x MDG atmosphere hazers to run for the duration of the focus, markups/rehearsals and performances. Please ensure that you have sufficient fluid and CO available for this. It is also essential that the venues fire alarm system can be adequately isolated for the stage, auditorium and surrounding areas, to allow for the amount of haze that is required by the production. If you have limited or no control over the air handling system(s) in the venue, and are unable to maintain a high even quantitiy of haze on stage, please raise these concerns with the Technical Production Manager as early as possible in the pre-production preparation. The production will not be performed without a good quality haze onstage. Uprising & The Art of Not Looking Back Technical Rider Page of

5 . Sound. Control We tour a Mac based Qlab system, with backup, for the playback for both pieces. Our prefered control desks are: Yamaha M7CL, Yamaha LS9 or Yamaha PM. Alternative digital or analogue desks are acceptable, but must be approved by the company in advance. Where an analogue desk is provided outboard processors & graphics etc MUST be positioned next to the console, not elsewhere in the building. NB. The mixing desk and outboard processing must be positioned in the auditorium as close to centre and where possible not under a balcony. It is NOT acceptable to have the mixing desk in a booth.. Outputs FOH Left FOH Right FOH Sub DS Monitors US Monitors. Inputs MAIN Left MAIN Right BACKUP Left BACKUP Right Class Left Class Right 7 Rehearsal director VOX.a PA A high quality PA is required capable of delivering full-range stereo throughout the venue at a high level with no distortion, buzz, hum, hiss or similar (D&B, EAW, Meyer, or similar). Amps must be of suitable power and quality for the speakers used. If the venue has balconies, delay speakers should be supplied and delayed accordingly. If the method of delaying the speakers does not feature EQ, then additional EQs are preferred for the outputs..b Sub x double 8 Sub Bass boxes are required per side in order to achieve the punch of the percussive score to the shows. The production will not be performed without the required quality of Sub.. Monitors Four full range fold back speakers for the dancers (minimum )(D&B, Meyer, Nexo) These can be powered or driven from appropriate amps, and will require a separate control.. Comms Suitable communications should be available for the show operators and Rehearsal Director. Stage Manager (wireless). Assistant Stage Manager (wireless). Lighting. Sound. Flys. Rehearsal Director Adequate and suitable show relay should be provided to all backstage areas, including paging system from the stage to backstage. Uprising & The Art of Not Looking Back Technical Rider Page of

6 . Schedule Some technical preparation prior to our arrival is required if we are to complete the fit-up on time. We will supply a hanging plot for your venue. On the company s arrival for the first morning of the fit-up, it is expected that: Masking (legs and borders) rigged as per venue specific plan, All electrics should be hung, coloured and powered as per the venue specific plan with slack on cables, Black dance floor laid across the full stage area, including forestage etc., FOH control position at rear of stalls constructed, and seats removed where necessary. We will then require one full day s get-in before the day of performance to complete the set-up (finalize the rig, lighting and sound focus and plotting). Sound checks, spacing, mark-up, light plot and rehearsals will be held on the day of the first performance. A typical schedule is shown below:. Generic schedule and crew call Day Description LX STG SND FLYS WDR 09:00-:00 Finalise lighting rig & power Dead masking (borders etc) Set-up sound system (if not fixed) Focus Uprising. :00-8:00 Complete stage set-up 0 Lay grey floor & build white walls Mark up AONLB lighting focus Commence AONLB lighting focus 9:00-:00 Complete focus. 0 Day Description LX STG SND FLYS WDR 09:00-:00 Complete technical work as 0 required :0 LX plot. :0-:00 Sound Check. :00-:00 BREAK. Sound crew break later :00 Dancers onstage. :0 Mark-up onstage. :00 Tech-run AONLB 7:00 Interval change rehearsal. 7:0 Tech-run Uprising 8:00-9:00 BREAK :00 Tech notes and Preset. 9:0 Open House. 0:00 Performance..0 Wardrobe wash NB. Please note that depending on performance times, it maybe necessary to work through/during crew meal breaks in order to complete the schedule. In this instance sufficient technical cover should be made available by the venue.. Notes The above schedule is for a two-day set-up, and represents an ideal scenario for the set-up of this programme (including a performance on day two). However, for various reasons either the numbers of crew, length of the working day, or conditions of the theatre the specified schedule may not be possible to achieve. If this is the case a third day will be required to complete the installation of this show, or at the very least installation of the dance floor and initial rigging of the lighting and masking will be needed prior to the morning of day one. Uprising & The Art of Not Looking Back Technical Rider Page of

7 . Working relations. Production management We require that one or more individual(s) (eg: Production Manager or Head of Stage / LX etc.) to be available to liaise with the company in directing the crew for the installation, and that this person(s) remain available to the company for the duration of the fit-up.. Language / communication The company technical depment s mother tongue is English. If it is felt that translator/interpreter is required; they should be provided to facilitate the process of the set-up where language may cause issue.. Show crew Crew provided for the performances must also be called for the technical rehearsals on the first performance day, and must be the same crew for the duration of all perfmances; thus providing continuity for the preformances. Uprising & The Art of Not Looking Back Technical Rider Page 7 of

8 . Wardrobe. Wardrobe requirements The company requires that the wardrobe staff have access to (at minimum): large size washing machine, full size tumble-dryer, clean handwashing facilities, air-drying facilities, iron, ironing board, and sewing machine.. Staff Where a wardrobe staff is called this person should be of Wardrobe Mistress level or equivalent, as their duties may include repairs and maintenance, as well as laundry. The wardrobe depment will be required on Day at 09:00 for a morning call to include laundry of the previous night s wardrobe in the prebvious venue. On Day they are required from the afternoon session onwards for maintenance standby and laundry. Duties will cover the washing, drying, ironing, and some small repairs of the costumes. There are elements of both hand washing and air-drying, as well as regular machine washing and drying.. Dressers We do not require the use of any dressers during the performance, or at any other time, as there are no dressing or quick-change cues. Uprising & The Art of Not Looking Back Technical Rider Page 8 of

9 7. Rehearsals 7. First performance day The company will require access to a suitable dance studio or rehearsal room with sprung, or semisprung floor with suitable covering (ie: Harlequin or Marley) throughout the day of the first performance. This should ideally be within the same venue as the performance auditiorium, but if this is not possible must be within 0 minutes walk of the venue. 7. Subsequent performance days The company also require the use of the stage from.00 for the purpose of dancer warmup, company class and rehearsal on all further performance days under suitable and adequate working light. It is possible the company may request, at schedule stage, the use of a suitable dance studio or rehearsal room with sprung, or semi-sprung floor with suitable covering (ie: Harlequin or Marley), where possible the presenter should make this available. The Company Stage Manager will arrange any further use of the stage in advance on a day-to-day basis, and with your agreement. 7. Rehearsal PA (sound system) The company tours a rehearsal PA, which will be used for all rehearsals company class. The venue should provide an isolated, clean A power supply at the front of stage, or in the rehearsal studio to power this at all times. It may be requested that the company use a line in, from stage, to the main house sound system for rehearsals on stage. NB. The company must be informed at the earliest possible moment if the stage is not available for the prescribed times, so that alternate options can be discussed. Uprising & The Art of Not Looking Back Technical Rider Page 9 of

10 8. General information 8. Programme Order Uprising (7 male dancers) minutes Interval (stage turnaround) 0 minutes Art Of Not Looking Back ( female dancers) 0mins Total running time: approx 7mins 8. Dressing rooms The company requires dressing rooms equipped with mirrors, clothes rails and adequate lighting, maintained at a minimum room temperature of + C within close proximity to the stage. These must be for the exclusive use of the company, and must be able to be secured. There must be at least adequatley heated toilets and showers, close to the dressing rooms, maintained at the same room temperature. A detailed dressing room allocation and sign in sheet can be provided prior to the company s arrival. 8. Artists requirements We require x bottles of still mineral water to be provided per dancer per performance day. We require require that clean towels be provided on a daily basis; one per dancer. 8. Production Office We require access to an office space for the technical team at all times throughout our stay. This should include wireless broadband access, a Macintosh compatible printer, and preferably show relay and should be located close to the stage and dressing rooms. 8. Press/Marketing disruption Any and all press and marketing interviews and/or calls must be pre-arranged with the company s administration office in London, and where required the company s press consultant. These must be scheduled into the company s technical rehearsal times. 8. Pre-/Post-show talks Any and all pre- or post-show talks must be pre-arranged with the company s administration office in London, and on tour will be liased through the Artists & Tour Manager and Company Stage Manager to ensure the smooth running of these events. 8.7 Technical transportation The company technical transportation is usually by 8tonne box truck. Where possible, parking should be provided onsite for this vehicle with A hot power provided. If not; then a safe and secure location should be provided offsite with clear directions as to how to gain access. Wash facilities in the venue should also be made available, during normal working hours, for the use of the driver(s). 8.8 Alcohol and drugs policy Hofesh Shechter Company has an extremely strict NO ALCOHOL policy during all work hours, and a minimum of 8 hours before commencing work. Hofesh Shechter Company has a ZERO TOLERANCE TO DRUG AND SUBSTANCE MISUSE. This policy must be adhered to by all staff working onstage for Political Mother. Uprising & The Art of Not Looking Back Technical Rider Page 0 of

11 9 Front of House 9. Clearance FOH must check with the company before opening the house to the audience and must give clearance for the show to commence to the Company Stage Manager. The Company Stage Manager is solely responsible for sting the show, and will not do so until a complete blackout has been achieved, both on stage and in the auditorium, with all auditorium doors completely closed. 9. Latecomers policy We would prefer for the performance to go up minutes after the scheduled st time so as to minmise the number of latecomers to the performance, to minimise disappointment and disruption. However, once Front of House clearance has been given to the Company Stage Manager and the performance has begun, latecomers must NOT be admitted to the auditorium until the signal is given by the Company Stage Manager at a specific point in the show (approximately minutes into the performance). 9. Merchandise The company does not tour any merchandise to sell at performances. However; there is some merchandise available via the company s website. 0. Touring personnel ( persons) Artistic Director** Executive Director** Assistant to the Artistic & Executive Director** Dancers (7 male female) Associate Artistic Director (Rehearsal Director) Artist & Tour Manager Technical Manager Stage Manager Relighter Sound Engineer Assistant Stage Manager Physiotherapist NB: please refer to your specific Deal Memo for exact touring numbers. The number of technical crew may be required to change, depending on the demands of presenting the work in each venue, these will be agreed by the company in advance also. **Attendance to be determined by the company dependant on the company schedule and other activities. Uprising & The Art of Not Looking Back Technical Rider Page of

12 . Additional charges You are required to inform the company at the earliest possible opportunity of any additional costs for equipment hires or overtime hours incurred by either the schedule or the technical details presented here, that exceeds any previous contractual agreement. This technical rider contains the specific minimum requirements for a successful performance of the mixed bill evening Uprising & The Art of Not Looking Back and forms a p of the contractual agreements between the presenting venue/presenter and the company. Please note that all final technical requirements are to be verified by the Hofesh Shechter Company Technical Manager in consultation with the presenting venue/presenter, and will vary from venue to venue. Any variation to these agreements must be discussed with us and agreed, in full, at least four weeks prior to the companies arrival. Please do not hesitate to contact us should you need to discuss any of the above or if you can see any areas of concern to yourselves. We look forward to working with you. Lawrie McLennan Technical Manager + (0) lawrie@hofesh.co.uk Uprising & The Art of Not Looking Back Technical Rider Page of

13 Appendix Generic lighting plan -m -m -m -m -m Lx Lx 8 8 L789 L9 0 L0 7 L789 L789 L9 L L0 L0 7 molefay L789 L Lx Lx Lx Lx L0 L L0 L0 8 8 L777 L777 L777 L777 7 small big 8 7 L0 L0 L0 L0 L0 L8 L8 L8 L8 L8 L0 8 Lx 7b 0 C C C C L0 L0 L0 L8 L8 L8 D D D D L0 L0 L0 L8 L8 L8 L0 L8 E E E E L0 L0 L0 L8 L8 L8 L0 L8 B B B B L0 L0 L0 L8 L8 L8 A A A L0 L8 8 A 7 7 Lx 7a White Cyc (live flies) +00mm L0 L9 L0 L9 9 8 flag 8 L0 #0 L0 88 #0 L0 7 L0 L0 #0 L0 #0 L0 molefay 7 L0 #0 L0 FOH FOH 9 9 molefay MDG HAZER MDG HAZER (as groundrow) (live flies) Boom SL +0mm +00mm 0 Boom SL +00mm +0mm 7 Boom SL +0mm 8 +00mm 7 8 Boom SL +0mm +00mm 9 9 Boom SL +0mm +00mm mm +00mm +0mm 0 +00mm +0mm +00mm +0mm +00mm +0mm +00mm tab warmer tab warmer +00mm +0mm 0 L0 00 To be rigged on first circle front or an as flat position as possible. L0 0 (Live flies to +000mm) HOFESH SHECHTER 'Uprising' & 'The Art of Not Looking Back' Generic lighting plan, INTERNATIONAL Updated November 0 Plan to scale :0 This is a generic lighting plan, and should not be taken to be accurate to every venue. A venue specific plan will be drawn by HSC following consultation with venue technical depments at least weeks prior to the company's arrival. ALL lighting requirements should be confirmed with Hofesh Shechter Company's Technical Production Manager in advance of confirmation of contractual agreement. Num In Instruments Inventory Used Remaining Source Zoom PAR CP 0 - Source 0 - kw Fresnel 0 - Robert Juliat Fresnel.kw Coda 00 Center Cell NB: Lx - ALL Pars should be of Coda 00 Left Cell 0 - exactly the same brand/style, looking Coda 00 Right 0 - the same, with the same length of yoke. Cell The parcans should not have colour frames in them however. kw Fresnel 0 - The pipe on which the Pars are rigged should be as well maintained, and as black as possible as it is in full view of the audience. Coda Source Molefay cell (x) 0 - The number of molefays rigged by the MDG Hazer 0 - proscenium will vary depending on the size & layout of the auditorium. Hofesh Shechter Company LF. The Leathermarket / Weston Street Bermondsey, LONDON ENGLAND SE ER Show usage A Generic kw PC 0 - Legend Color / Frost Color Gobo/iris Unit Number Channel Position Boom SR Boom SR Boom SR Boom SR Boom SR Uprising & The Art of Not Looking Back Technical Rider Page of

14 Appendix Art of Not Looking Back white walls HOFESH SHECHTER 'The Art of Not Looking Back' Set construction drawn to scale A Uprising & The Art of Not Looking Back Technical Rider Page of