Murder Mystery

Standard

Location: Reed’s School

Role: Sound Operator


Stage Plan:

Murder Mystery Lighting Plot


Sound:

2 x Sennheiser SKM500 wireless microphones

4 x EV Speakers

Behringer X32 Mixing Desk

Yamaha Amp


Special Effects:

→ The play begins with an explosion where ‘James Blond’ emerges and makes his way to the stage. We achieved the effect of an explosion by setting off a confetti cannon while flashing a profile directed at the doorway. Since we didn’t have cans, we had to setup a cue light using birdies so that the lighting operator could cue the pyro operator at the right time.


Lighting:

Murder Mystery Lighting Plot

Autumn Concert

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Location: Reed’s School

Role: Stagehand


Information:

→ During the day of rehearsals, I drew rough stage plans and took pictures of the chairs and music stands for each act. This meant that when it came to the performance in the evening, we could refer to the plans and photos to set the stage for each act accurately.


Sound:

→ We used two shotgun microphones rigged above the choir to send a signal into the main PA to boost the volume of the singers.


Stage:

→ I directed a small team of 5 stagehands to take on and remove chairs and music stands as efficiently as possible.


Lighting:

→ We used 8 fresnels with straw gels to create a general wash covering the stage. We also used a spotlight profile to light the composer.

Autumn Concert Lighting Plot

House Arts

Standard

Location: Reed’s School

Role: Stage Manager / Assistant Stage Manager


Schedule:

Monday → Bristowe & Blathwayt Rehearsal

Tuesday → Bristowe & Blathwaiyt Show Night

Wednesday → Capel & Mullens Rehearsal

Thursday → Capel & Mullens Show Night


Sound:

4 x Sennheiser wireless microphones

1 x SM59

2 x 2M57s

6 x Mic Stand’s

Behringer X32 Sound Desk

Crest Amps

4 x EV Speakers

2 x Guitar Amps

1 x Bass Amps


Information:

→ As the stage manager for the House Arts, I was in charge of creating a technical requirement form for the various acts to fill out. I had to try and get as much information about each act so that the stage crew team could setup and prepare prior to the rehearsal.

→ During the rehearsal process, I was in charge of keeping the rehearsals moving and on time. I informed each of the departments of the next act so that they could prepare for the rehearsal and be efficient with our time.

→ On the night, I had a table positioned by the side of the stage so that I could see everything that was happening on the stage. I visually cued the lighting and sound based on notes I had made during the rehearsal.

→ I also had to communicate with the sound operator over cans to tell him which mics were about to go on stage


Lighting:

House Arts Lighting Plot


B&B ProgrammeHouse Arts 

House Spelling Bee

Standard

Location: Reed’s School

Role: Sound Operator


Stage Plan:

Stage Plan


Sound:

2 x Sennheiser SKM500 wireless microphones (1 for judges table, 1 for contestants)

2 x Mic stand

4 x EV Speakers

Behringer X32 Mixing Desk

Yamaha Amp


Lighting:

House Spelling Bee - Lighting Plot

Eurydice – Woking Drama Festival

Standard

Location: Rhoda McGaw Theatre

Role: Lighting Operator


Challenges:

→ My main challenge while operating lighting for this production was when an actor skipped a page of the script which contained 2 lighting cues. The actor then jumped back to the previous lighting states. This meant that I had to ‘go to cue’ to skip the cues and then jump back into the correct cue state.

→ Since it was a drama festival, we were challenged to erect the 10 flat wall within a 10 minute time-frame. We were able to achieve this due to practice and the efficiency of the team. I drew a diagram on the back of the first flat so that the stagehands knew which flat went where. We laid a rope down across the stage which had marks showing the position of each flat.


Set:

→ Since the play was set in an underwater, dystopian world, we decided to create the effect of rusted metal walls. We achieved this by first painting the 10 x 8″ flats with a metallic silver paint. We then coated the flats with clue and spread iron filings over the glue. Once the glue dried, we sprayed the flats with vinegar. This cause the iron to rust. The flats consisted of 6 standing flats and 4 door flats which hinged open.

→ I used ‘dirty down’ paint to make wooden poles look like rusted pipes.


Prizes:

→ We were awarded the Best Stage Management award for our organisation backstage.

 

IMG_6059


Media:

Eurydice Eurydice Eurydice IMG_5652 IMG_6131IMG_5460

GCSE Pieces

Standard

Location: Reed’s School

Role: Lighting Operator


Information:

→ We provided a universal space for the GCSE students to adapt for their play. We setup a wall of black flats with 4 doors for the actors to enter and exit.

Black Wall


Lighting:

→ We provided a generic lighting rig for the actors to customise to suit their production. This consisted of a straw wash with 8 fresnels to cover the stage. We also rigged some profiles to create spotlights.

GCSE Lighting Plot


Sound:

→ We sourced and edited sound effects as requested by the group of actors. We added all off these sound effects into a QLab workspace to run on the night.

Close Disco

Standard

 


Location: Reed’s School

Role: Sound / Lighting Operator


Lighting:

→ I rigged 4 parcans with bright coloured gels and directed them towards the dance area to provide a splash of colour. These were programmed with a rainbow chase effect.

→ I also setup a couple of sets of disco lights and a laser on a table at one side of the room.

→ I used the houselights to provide a low intensity wash across the floor.

Close Disco


Sound:

→ The playlist was provided on one of the organiser’s phone. I used a DI (Direct Input) box going into a Behringer X32 to control the sound levels going out to 4 speakers.


Challenges:

→ I had to monitor a roving microphone especially when they walked within range of the speaker to prevent feedback.

Close Disco

RADA: Introduction to Lighting

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Location: Royal Academy of Dramatic Art

Role: Participant


Rada Logo

Schedule:

Monday → Introduction to the short course, lighting equipment and the role of a lighting designer, colour theory and direction of light. We also did some rigging and focussing practice.

Tuesday → Group lighting design exercise, where we were set challenges to light a setting using a few lanterns as possible.

Wednesday → We had a short introduction into scenic design. We also learnt about lighting paperwork used in professional theatres. We finished the day discussing ideas for the final production.

Thursday → We were introduced to moving lights and DMX control. We began rigging and focussing for the final performance by operating the extract into small sections. Then we decided ourselves into small teams and created our own design for our chosen section.

Friday → We finalised the plotting for the final performance. In the afternoon we ran through a technical rehearsal with sound and dress. We then presented our work to other short course attendants. I was happy to be able to help operate lighting for the show. We concluded the week with a presentation of certificates.

Guildford School of Acting: Table

Standard

Location: Waterloo East Theatre

Role: Sound and A/V Operator


GSA - Table

Information:

→ I spent a whole week working with GSA students on their second production of Table. This gave me a great opportunity to talk to the current students and find out more about life as a TTSM student.

→ During the show, I took it in turns to operate the sound, lighting and projections. The sound was run through a QLab stack which also contained the images for projection. The lighting was operated on the in-house jester. A GSA student was the deputy stage manager for the show and cued me.