Peut-Être Theatre & La Manœuvre Dare To Sea & LA manoeuvre Presents Dare To Sea 2016 & 2017 Touring A full Technical Specification, technical plans and important information for presenters and venues hosting the production Page 1 of 9
Basic Information Contacts Name Role Email Number Daphna Attias Artistic daphna@peutetretheatre.co.uk 0044 (0) 7793 083 982 Director Faith Rowley Production Manager faith@peutetretheatre.co.uk 0044 (0) 7792 750 567 Touring Team Artistic Director Stage Manager Projection Artist 4 Performers (2 Male and 2 Female) Show Credits Directors: Artists: Live visuals: Scenography: Lighting Design: Music : Costumes: Daphna Attias & Gaëlle Bisellach Maya Politaki, Clara Solana, Gaëlle Cathelineau, Colin Jolet Franck Française Delirium Lumens Jackie Shemesh Yaniv Fridel Julie Deljéhier We would like to thank: Lighthouse, Poole, Jackson s Lane, PASS, Arts Council, CSM. Playing Time: 50 minutes, No Interval Age Guidance: 4+ Page 2 of 9
Stage Dimensions The ideal stage dimensions are: Width: 10m Depth: 10m Height: 8m The dimensions above are due to the need for good wing space, and a dancer friendly crossover route. If you have a viable, external route then we can reduce the depth to 10m Floor A level performance area of 10m x 10m. The show relies on a dance floor throughout. It is essential that we have a black, house dance floor laid and taped throughout the performance area and backstage. This should be laid prior to our arrival The Performance area should be fully sprung without traps or pit covers. Masking We need masking that does not hinder sight lines to the performance space but which does hide the many off stage items and actions. We achieve this by using a mixture of masking types in Ballet Style. Full blacks upstage. Full black legs if space is wider than 10m. Scenery Aside from the house masking and floor above, the company tours all the scenery needed for the production. 10mx10m piece of lycra which will cover the space (and rigged at 9 points from the LX rig) A back screen is approx 8m high and 10m wide. Stretched at the back (from 3 rigging points) & weighted down. PVC Vinyl dance flooring to lay on top of venues dance floor 10m x 10m We will rig 4 bars of 4 meter scaffolding from the lx rig each bar has a rope pulley system to fly the lycra. We will have 9 points of flying from the rig. Please provide: 20 30 Stage Weights. 2 sets of steps from stage area to audience. Small platform for video projectionist 20m from our lycra backdrop rigged above the audience. Please discuss with Stage Manager. 3 Rigging points for lycra screen/cyc screen. 2 Rigging points pulleys for adjustable screen. 2 Rigging points DSL/DSR upto 600kg. 2 x tripod bases for rigging upto 600kg (design to be discussed). Props There is an extensive list of props for the show, as well as consumables per performance. Please Page 3 of 9
request the props list if you wish to see it. To manage our props please can we request the following: 2x 6 trestle tables per side of stage Each with a blue light A full size, self standing mirror Safe storage back stage for running props and tools Projection We tour with four overhead projectors. We provide a mini-rig 2.5m x 2.5m for the projectors in the auditorium. PLEASE NOTE THAT AUDIENCE CAN NOT SIT BEHIND THE MINI-RIG FOR THE PROJECTORS. Projectors on the floor; 1 down stage left and 2 down stage right 2 projectors behind audience on raised platform. 3 slide projectors also, 2 stage left and 1 stage right. We will provide: Slides and acetate for projectors. Venue to provide Mini platform for projectionist (2x2m) with space for two large tables parallel to the stage, (height depends on space) for projectionist at rear of auditorium behind audience (approx. 20m from upstage cyc) Non dim Power to four projectors on the floor; 1 stage left and 1 stage right of the stage area; 2 at 20m from our black backdrop, rigged above the audience. Page 4 of 9
Lighting Please see the Generic Touring LX plan contained in this document. Here is the ideal kit list for our plan, we are happy to try and compromise on units and we can consider some pairing where it is absolutely necessary. Where possible we request an LX pre rig prior to our arrival. If this is not possible please inform our Production Manager and Stage Manager. We provide the operator for LX, but are happy to call these cues if that is preferable to your venue s policy. We will need: Power to each LED birdie (marked as SPOT on the plan) We will also need 3-pin DMX on stage to control the LEDs. One smoke machine DSR We will need a good supply of blue lamps for backstage visibility 6 x microphone stands for rigging LED birdies. and power to each LED. Page 5 of 9
Sound The show uses a pre recorded sound track operated from control by our touring team from a Q lab show file. We provide the operator for sound, but will need house staff to help set up and sound check the system. Where possible we would prefer the sound control to be situated in a postion wich has a clear view of the stage and the audience. Please advise us as soon as possible. PA We will require a pre rigged full house PA system suitable for consistent and clear sound throughout the auditorium. It is important that this system provides clear sound at a reasonable level, delayed as necessary. It should have speakers with good bass registry, or better still a set of sub bass speakers, to best reproduce our rich sound track. The PA should be connected such that it can be mixed with as much independent control as your desk and amps will allow. Monitoring All monitoring should have independent level control and access to all sound inputs A minimum of 2x full range speakers provided to the performers on stage such that all sound is clear at all parts of the stage Playback and control We provide playback on an Apple Mac laptop using Q Lab We need a desk with minimum 4 channel inputs, 2 Stereo outputs and Aux output capability. Delays as required to fulfil the PA needs above 1x Stereo 30 band Graphic equaliser for L&R outputs Cables and adapters for all interconnections Please provide a Mini jack (for laptop) input into venue desk Comms 2x Head set and Belt pack Duplex Comms sets wired or wireless 2x Additional sets in auditorium for technical sessions and rehearsals PRS All music is composed and commissioned specifically for the project by Yaniv Fridel therefore no PRS payments are due Page 6 of 9
Wardrobe We tour all our costumes and some basic wardrobe supplies. Depending on the length of run we are having with you, we may have laundry needs as well. In this instance we will discuss these with you. We tour one wardrobe flight case. Please could you provide: Iron Ironing board Sewing kit Quick change area preferably very close to stage and well lit Full length, portable mirror Washing machine Tumble dryer/hot box Company facilities Dressing rooms Please supply a minimum of 2 dressing rooms, suitable for 3 people in each. These ideally will be en suite, with private shower. We expect these to be exclusive to our company such that they are secure and private. Company facilities and amenities A Company office would be very welcome, if you have one available. This would ideally have internet access and be very near the stage. Drinking water must be readily available to both cast and crew throughout our visit, and easily accessible from the stage. The temperature of the stage and dressing rooms [and route from them] should be set at a warm and consistent temperature around 23 C. Please warn us in advance if your heating system is not easily controllable. The route from dressing rooms, through the cross over and all areas backstage must be safe for dancers to use barefoot. We welcome use of free local Wi Fi for internet access for both cast and crew. Please provide security passes, door access passes etc for our entire team. Names can be supplied in advance, please request as required. Company Vehicle We assume there will be a valid load in point, free from risk of parking restrictions with a short route to the stage. Please advise about unloading and parking, especially if it is not obvious. Our get in has some large set items and we need to know in advance if the route from load in to stage is not on street level and if we should expect stairs, lifts or doors smaller than set. Our van is a Iveco 35-10 transit van, to transport the set and one car to drive the company. will require parking throughout our visit. Please indicate as soon as possible if you are not able to offer us a secure, free space on site. Page 7 of 9
Staffing We prefer to rely on local knowledge as to exact crew levels, as each theatre is different and will have its own requirements. However the below is a guide to crew levels based on the necessary tasks. Prior to company arrival [8hrs] 2 LX; 2 Stage Lay house black dance floor Set local masking Rig, flash and soft patch all LX as per the bespoke plan supplied by us Day 1 [09:00 22:00] 2 LX; 2 Stage; 1 Sound Separate rehearsal space required on get-in day. Load in all company items Lay our floor, set our masking Finalise all LX, colour rig Build set pieces, rig set items Set up Projection area Set-up Lycra Focus LX Sound Check Plot notes Company technical and dress rehearsals Day 2 [09:00 end of last show] 1 LX/Sound; 2 on-stage technicians required for full performance. Snag and rehearse Prepare Show #1 Break Show #2 Get out [if last performance] [Crew as per get in] We like to maximise our time on stage as efficiently as possible. That often means allowing company time on stage during breaks, sound checking in a quiet time, etc. Please allow for us to split the breaks of your team where necessary. Equally there may be times the company will occupy the stage unassisted for spacing and rehearsal if that causes you issues because of venue policy, please be sure to discuss this with our Production Manager. We will provide a competent, rested and capable team for the duration of our visit and we request the same from your venue. Please provide a Duty Technician for all performances who is free from duties so that they can respond to any in show issues or building problems. This person must be quickly reachable from both stage and control. Page 8 of 9
FOH/Ushering Opening the house We would like to open the house no earlier than 15 minutes before the scheduled start. Pre-show announcement Please make any announcements in the foyer area so that the environment created within the performance space is maintained. We request an announcement or notice to advise the public about the use of feathers during the show. Also feel free to ask adults not to allow the children on to the performance/stage area during the show except when invited. Latecomers Latecomers may enter at a specific point in the show we will show the music to the ushers. Assuming that the entrance is not across the performance area. At around twenty minutes there is almost total darkness where tripping could occur if latecomers arrive, therefore please do not allow them into the space after twenty minutes. Ushering For the safety of our performers and the young audience, it is essential that at least one usher be positioned on one side at the front of the audience area. This usher must be in charge of ensuring any wandering children are returned to the seating area immediately. Please do not be shy about walking into the performance area. Due to the choreography involved, it is unsafe for the children to walk or creep into the performance area unless invited as this could result in injury. We have a free programme with a drawing competition on the back page, please can the ushers hand these out as audience enter. Post Show Although we don t mind the children exploring the space and set, please be vigilant for their own safety. Other We would like to request: a vacuum cleaner for the get out as we will have feathers on the ground which will need to be cleaned before we can roll dance floor. We also have a cd for sale at 5.00 we will sell this ourselves and manage our own finance, please let me know about your merchandising protocol. Please do not hesitate to get in contact regarding any of the above. Thank you That completes our Rider, thank you for reading it. Page 9 of 9