SPRING 2017 - SPRING 2021
THEATRE & STAGECRAFT
WORK TYPE solo in large team
CONTEXT memphis university school theatre company
TIME 5 years, ~10 hours/week
> OVERVIEW
SELECTED WORKS (LINKS!):
| sound designer | sound engineer (A1) | mic wrangler (A2) | house manager | projection designer | lighting tech/programmer | electrician | carpenter | |
|---|---|---|---|---|---|---|---|---|
| A Chorus Line SPRING 2021 |
✔ | |||||||
| Guys and Dolls SPRING 2020 |
✔ | ✔ | ✔ | ✔ | ✔ | |||
| Noises Off FALL 2019 |
✔ | ✔ | ✔ | ✔ | ✔ | |||
| The Fortune (student-produced) SPRING 2019 |
✔ | ✔ | ||||||
| A Midsummer Night's Dream SPRING 2019 |
✔ | ✔ | ||||||
| 1776 FALL 2018 |
✔ | ✔ | ||||||
| Little Shop of Horrors SPRING 2018 |
✔ | ✔ | ||||||
| Witness for the Prosecution FALL 2017 |
✔ | ✔ | ||||||
| Man of La Mancha SPRING 2017 |
✔ | ✔ |
sound engineer/board operator (A1)
A POST-COVID SHOW
A Chorus Line was held outside in the Memphis University School amphitheatre. the amphitheatre itself had no systems - load-in and load-out for all tech was a daily operation.
A Chorus Line was held outside in the Memphis University School amphitheatre. the amphitheatre itself had no systems - load-in and load-out for all tech was a daily operation.
ADAPTING TO THE OUTDOORS
the booth was placed in a bay window area of the building behind the amphitheatre. to hear audience audio, the sound table was placed in the grass behind seating.
the booth was placed in a bay window area of the building behind the amphitheatre. to hear audience audio, the sound table was placed in the grass behind seating.
INVISIBLE BAND
the musicians performed live in a music studio on the second floor of the building behind the stage. to achieve this, a permanent audio over ethernet (aoe) cable was run through the window of the studio to the sound table through the trees.
the musicians performed live in a music studio on the second floor of the building behind the stage. to achieve this, a permanent audio over ethernet (aoe) cable was run through the window of the studio to the sound table through the trees.
SPEAKER LOADOUT
speakers and monitors were connected by a permanent run under the stage with a temporary xlr link from the amp & board to the monitors & speakers.
speakers and monitors were connected by a permanent run under the stage with a temporary xlr link from the amp & board to the monitors & speakers.
DAILY CHECKLIST
load-in and load-out everyday was carefully detailed, as any missed link would render the entire system useless.
load-in and load-out everyday was carefully detailed, as any missed link would render the entire system useless.
sound and projection designer, mic wrangler (A2), house manager
MAPPED PROJECTION
a major ambient set element for Guys and Dolls was a set of four hanging projection frames, inspired by Peter McKintosh's design at Savoy Theatre.
the projection was controlled through images in QLab using a mask from MadMapper and tweaked every show to account for slight position changes.
a major ambient set element for Guys and Dolls was a set of four hanging projection frames, inspired by Peter McKintosh's design at Savoy Theatre.
the projection was controlled through images in QLab using a mask from MadMapper and tweaked every show to account for slight position changes.
MOOD SYNC
the projection cues were often carefully meshed with lighting cues by designer Silas Coleman to maintain a sense of uniformity in each scene.
the projection cues were often carefully meshed with lighting cues by designer Silas Coleman to maintain a sense of uniformity in each scene.
COMPLEX CUEING
in just one transition, three cues, projection and sound work together to indicate the passage of time on a flight. the cues are set up to account for a variable set change length as smoothly as possible, with the stage manager signaling to lighting, sound, and orchestra once the set change is complete. view video of the transition here.
in just one transition, three cues, projection and sound work together to indicate the passage of time on a flight. the cues are set up to account for a variable set change length as smoothly as possible, with the stage manager signaling to lighting, sound, and orchestra once the set change is complete. view video of the transition here.
sound designer
COMEDIC TIMING
in Noises Off, comedic timing is of the essence. sound cues were often involved in advancing the plot, so effects like *glass shattering* were modified and rehearsed with the director and individual actors.
in Noises Off, comedic timing is of the essence. sound cues were often involved in advancing the plot, so effects like *glass shattering* were modified and rehearsed with the director and individual actors.
...NOISES OFF
soundscapes were made for "nothing on" (acts I and III) and backstage (act II). while "backstage," audience ambience and live annoucements were played through speakers behind the set to convey the sense of an audience on the other side.
soundscapes were made for "nothing on" (acts I and III) and backstage (act II). while "backstage," audience ambience and live annoucements were played through speakers behind the set to convey the sense of an audience on the other side.
(student-produced)
projection designer
projection designer
SWAPPED PLACES
audience members sat against the backstage wall facing a unique onstage rear projection rig. the rig was divided into six segments, which were used to display a single image or collage photos to create a certain atmosphere.
audience members sat against the backstage wall facing a unique onstage rear projection rig. the rig was divided into six segments, which were used to display a single image or collage photos to create a certain atmosphere.
lighting tech/programmer
FOREST OF LIGHTS
a simple set layered with lights created the illusion of a large stage. three depths of bar sidelights illuminated the acting area (visible on the rock piece). above the stage, colored tulle fabric was draped from rgb led bars to create a dream-like canopy. in the background, stars and a moon indicated nighttime through a black scrim.
a simple set layered with lights created the illusion of a large stage. three depths of bar sidelights illuminated the acting area (visible on the rock piece). above the stage, colored tulle fabric was draped from rgb led bars to create a dream-like canopy. in the background, stars and a moon indicated nighttime through a black scrim.
lighting tech/programmer
INDOORS AND OUTDOORS
lighting for 1776 used a traditional 6-zone (2 by 3) warm/cool for the indoors and 3-zone (1 by 3) moonlight/foliage for the outdoors. many songs used specials with intense gels and gobos to break the standard visual identity. here in "momma look sharp," 6 cool zones contrast the single warm followspot. the chandelier was an additional lighting element integrated into cues.
lighting for 1776 used a traditional 6-zone (2 by 3) warm/cool for the indoors and 3-zone (1 by 3) moonlight/foliage for the outdoors. many songs used specials with intense gels and gobos to break the standard visual identity. here in "momma look sharp," 6 cool zones contrast the single warm followspot. the chandelier was an additional lighting element integrated into cues.
lighting tech/programmer
PASSAGE OF TIME
to properly convey the passage of time, particular attention was paid to the direction of light. here in the "interior" of the rotating set, cyc lights indicate nighttime outside, while neutral front lighting simulates fluorescent lights.
to properly convey the passage of time, particular attention was paid to the direction of light. here in the "interior" of the rotating set, cyc lights indicate nighttime outside, while neutral front lighting simulates fluorescent lights.
carpenter
BUILDING A COURTROOM
the three-piece set for Witness for the Prosecution was completely constructed from wood and placed on casters. when reversed, the courtroom would turn into an office.
the three-piece set for Witness for the Prosecution was completely constructed from wood and placed on casters. when reversed, the courtroom would turn into an office.
