<div dir="ltr"><div class="gmail_default" style="font-family:tahoma,sans-serif">What about putting realistic program sound monitors "backstage"? Maybe even put video monitors as well. I have done many productions where the audio and/or video was broadcast backstage so the offstage cast could hear and/or see what was happening on the stage. That could be a "high tech addition" to the show.</div><div class="gmail_extra"><br clear="all"><div><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><span><div dir="ltr"><div style="color:rgb(34,34,34);font-family:arial,sans-serif;font-size:13px;background-color:rgb(255,255,255)"><div dir="ltr" style="font-size:12.8px"><b><font color="#000000" face="arial, helvetica, sans-serif"><span style="font-size:small">Tracy Nunnally</span><br></font></b></div><div dir="ltr" style="font-size:12.8px"><font color="#000000" face="arial, helvetica, sans-serif">Owner<div class="gmail_default" style="font-family:tahoma,sans-serif;display:inline"> - Vertigo</div><br>Email: </font><a href="mailto:tracy@getvertigo.com" style="color:rgb(17,85,204);font-size:12.8px;font-family:arial,helvetica,sans-serif" target="_blank">tracy@getvertigo.com</a></div><span style="font-size:12.8px"><div dir="ltr" style="font-size:12.8px"><font color="#000000" face="arial, helvetica, sans-serif">Office/Fax: <a href="tel:%28888%29%20359-4255" value="+18883594255" style="color:rgb(17,85,204)" target="_blank">(888) 359-4255</a> <br>Mobile: (815) 762-0181</font><div><a href="http://getvertigo.com" target="_blank">getvertigo.com</a></div></div></span></div></div></span><div style="display:inline"></div></div></div></div></div></div></div></div>
<br><div class="gmail_quote">On Mon, Apr 30, 2018 at 2:00 PM, <span dir="ltr"><<a href="mailto:stagecraft-request@theatrical.net" target="_blank">stagecraft-request@theatrical.net</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">Send Stagecraft mailing list submissions to<br>
<a href="mailto:stagecraft@theatrical.net">stagecraft@theatrical.net</a><br>
<br>
To subscribe or unsubscribe via the World Wide Web, visit<br>
<a href="http://theatrical.net/mailman/listinfo/stagecraft_theatrical.net" rel="noreferrer" target="_blank">http://theatrical.net/mailman/<wbr>listinfo/stagecraft_<wbr>theatrical.net</a><br>
or, via email, send a message with subject or body 'help' to<br>
<a href="mailto:stagecraft-request@theatrical.net">stagecraft-request@theatrical.<wbr>net</a><br>
<br>
You can reach the person managing the list at<br>
<a href="mailto:stagecraft-owner@theatrical.net">stagecraft-owner@theatrical.<wbr>net</a><br>
<br>
When replying, please edit your Subject line so it is more specific<br>
than "Re: Contents of Stagecraft digest..."<br>
<br>
<br>
For list information see <<a href="http://stagecraft.theprices.net/" rel="noreferrer" target="_blank">http://stagecraft.theprices.<wbr>net/</a>><br>
<br>
<br>
Today's Topics:<br>
<br>
1. Noises Off Dilemma (Wayne Rasmussen)<br>
2. Re: Noises Off Dilemma (Jerry Durand)<br>
3. Re: Noises Off Dilemma (Bruce Purdy)<br>
4. Re: Noises Off Dilemma (Stephen Litterst)<br>
<br>
<br>
------------------------------<wbr>------------------------------<wbr>----------<br>
<br>
Message: 1<br>
Date: Mon, 30 Apr 2018 12:08:46 -0400<br>
From: Wayne Rasmussen <<a href="mailto:rasmuw@blair.edu">rasmuw@blair.edu</a>><br>
To: Stagecraft <<a href="mailto:stagecraft@theatrical.net">stagecraft@theatrical.net</a>><br>
Subject: [SML] Noises Off Dilemma<br>
Message-ID: <<a href="mailto:7b655b14bd1c9f1d1fb9b6d15be321d1@mail.gmail.com">7b655b14bd1c9f1d1fb9b6d15be32<wbr>1d1@mail.gmail.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Noises Off will open at my school on May 10. The play will be performed in<br>
our black box theater. The space is surrounded by concrete block, a sheet<br>
rock ceiling, and a vinyl tile covered concrete floor. It measures 50? by<br>
35? by 23? high. One 35? wall has velour curtains on it. The one large<br>
window is concealed by a lined black velour approximately 10? high by 25?<br>
wide. Acoustics for the shows we have done for 20 years have been<br>
reasonably good, not requiring the use of microphones.<br>
<br>
<br>
<br>
The set I have constructed spans the 35? width and is 22? in depth. It is<br>
16? at its highest point, probably averaging 14? high. Rather than<br>
rotating the set or moving wagons around, I have chosen to have the<br>
audience sit on one side of the set for Acts 1 and 3, and move to seats on<br>
the ?backstage? side for Act 2. The seating accommodation will be 74 on<br>
each side, with the front row of the audience at the edge of the playing<br>
space.<br>
<br>
<br>
<br>
The director is concerned that during Act 2, the actors on the backstage<br>
side of the set will be unable to hear the lines that the actors on the<br>
front of the set are saying?when the audience is laughing. Lines are<br>
easily heard in rehearsal. The director has approached me about finding a<br>
way to enable to actors to hear the lines over laughter, so that their<br>
backstage movements will be coordinated with the lines being spoken on the<br>
other side of the set. I have responded that I don?t think I can find a<br>
way to make that work. In one scenario, if I were to somehow place<br>
speakers so that the actors can hear, the audience will hear those same<br>
speakers. The sound will not emanate from the proper source (the other<br>
side of the set). In scenario two, if the actors were to somehow know what<br>
lines were being spoken (in-ear monitors) and responded appropriately to<br>
their cues, the laughing audience won?t be able to hear the same lines and<br>
the subsequent movements won?t make sense to them.<br>
<br>
<br>
<br>
If you have any suggestions how to solve the problem, I would appreciate<br>
your response. If the scenarios I have considered are flawed, I would<br>
appreciate a correction. If you have other reasons to reinforce why there<br>
is no solution, please add them.<br>
<br>
<br>
<br>
Thanks,<br>
<br>
Wayne Rasmussen<br>
<br>
Blair Academy<br>
-------------- next part --------------<br>
An HTML attachment was scrubbed...<br>
URL: <<a href="http://theatrical.net/pipermail/stagecraft_theatrical.net/attachments/20180430/63273f00/attachment-0001.html" rel="noreferrer" target="_blank">http://theatrical.net/<wbr>pipermail/stagecraft_<wbr>theatrical.net/attachments/<wbr>20180430/63273f00/attachment-<wbr>0001.html</a>><br>
<br>
------------------------------<br>
<br>
Message: 2<br>
Date: Mon, 30 Apr 2018 09:20:06 -0700<br>
From: Jerry Durand <<a href="mailto:jdurand@durandinterstellar.com">jdurand@durandinterstellar.<wbr>com</a>><br>
To: Wayne Rasmussen via Stagecraft <<a href="mailto:stagecraft@theatrical.net">stagecraft@theatrical.net</a>><br>
Subject: Re: [SML] Noises Off Dilemma<br>
Message-ID:<br>
<<a href="mailto:364b3ef9-d8bd-1289-4720-a2187c69140e@durandinterstellar.com">364b3ef9-d8bd-1289-4720-<wbr>a2187c69140e@<wbr>durandinterstellar.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
1. make sure act 2 isn't funny?<br>
2. place microphones to pick up the lines (doesn't have to be good ones)<br>
and feed speakers hidden next to doors.? Only turn this on for act 2<br>
(maybe the speakers plug in so aren't even there during act 1).<br>
<br>
On 04/30/2018 09:08 AM, Wayne Rasmussen via Stagecraft wrote:<br>
><br>
> Noises Off will open at my school on May 10.? The play will be<br>
> performed in our black box theater.? The space is surrounded by<br>
> concrete block, a sheet rock ceiling, and a vinyl tile covered<br>
> concrete floor.? It measures 50? by 35? by 23? high.? One 35? wall has<br>
> velour curtains on it.? The one large window is concealed by a lined<br>
> black velour approximately 10? high by 25? wide.? Acoustics for the<br>
> shows we have done for 20 years have been reasonably good, not<br>
> requiring the use of microphones.?<br>
><br>
> ?<br>
><br>
> The set I have constructed spans the 35? width and is 22? in depth. It<br>
> is 16? at its highest point, probably averaging 14? high.? Rather than<br>
> rotating the set or moving wagons around, I have chosen to have the<br>
> audience sit on one side of the set for Acts 1 and 3, and move to<br>
> seats on the ?backstage? side for Act 2.? ?The seating accommodation<br>
> will be 74 on each side, with the front row of the audience at the<br>
> edge of the playing space.?<br>
><br>
> ?<br>
><br>
> The director is concerned that during Act 2, the actors on the<br>
> backstage side of the set will be unable to hear the lines that the<br>
> actors on the front of the set are saying?when the audience is<br>
> laughing.? Lines are easily heard in rehearsal.? The director has<br>
> approached me about finding a way to enable to actors to hear the<br>
> lines over laughter, so that their backstage movements will be<br>
> coordinated with the lines being spoken on the other side of the set.?<br>
> I have responded that I don?t think I can find a way to make that<br>
> work.? In one scenario, if I were to somehow place speakers so that<br>
> the actors can hear, the audience will hear those same speakers.? The<br>
> sound will not emanate from the proper source (the other side of the<br>
> set).? In scenario two, if the actors were to somehow know what lines<br>
> were being spoken (in-ear monitors) and responded appropriately to<br>
> their cues, the laughing audience won?t be able to hear the same lines<br>
> and the subsequent movements won?t make sense to them.? ?<br>
><br>
> ?<br>
><br>
> If you have any suggestions how to solve the problem, I would<br>
> appreciate your response.? If the scenarios I have considered are<br>
> flawed, I would appreciate a correction.? If you have other reasons to<br>
> reinforce why there is no solution, please add them.?<br>
><br>
> ?<br>
><br>
> Thanks,<br>
><br>
> Wayne Rasmussen<br>
><br>
> Blair Academy<br>
><br>
> ?<br>
><br>
> ?<br>
><br>
><br>
><br>
> ______________________________<wbr>______________________________<br>
> For list information see <<a href="http://stagecraft.theprices.net/" rel="noreferrer" target="_blank">http://stagecraft.theprices.<wbr>net/</a>><br>
> Stagecraft mailing list<br>
> <a href="mailto:Stagecraft@theatrical.net">Stagecraft@theatrical.net</a><br>
> <a href="http://theatrical.net/mailman/listinfo/stagecraft_theatrical.net" rel="noreferrer" target="_blank">http://theatrical.net/mailman/<wbr>listinfo/stagecraft_<wbr>theatrical.net</a><br>
<br>
-- <br>
Jerry Durand, Durand Interstellar, Inc.<br>
<a href="http://www.DurandInterstellar.com" rel="noreferrer" target="_blank">www.DurandInterstellar.com</a><br>
tel: +1 408 356-3886<br>
@DurandInterstel<br>
<br>
-------------- next part --------------<br>
An HTML attachment was scrubbed...<br>
URL: <<a href="http://theatrical.net/pipermail/stagecraft_theatrical.net/attachments/20180430/f8442217/attachment-0001.html" rel="noreferrer" target="_blank">http://theatrical.net/<wbr>pipermail/stagecraft_<wbr>theatrical.net/attachments/<wbr>20180430/f8442217/attachment-<wbr>0001.html</a>><br>
<br>
------------------------------<br>
<br>
Message: 3<br>
Date: Mon, 30 Apr 2018 12:31:11 -0400<br>
From: Bruce Purdy <<a href="mailto:bpurdy@rochester.rr.com">bpurdy@rochester.rr.com</a>><br>
To: Stagecraft <<a href="mailto:stagecraft@theatrical.net">stagecraft@theatrical.net</a>><br>
Subject: Re: [SML] Noises Off Dilemma<br>
Message-ID: <<a href="mailto:7AA2F636-88E5-407A-90B1-71785314B294@rochester.rr.com">7AA2F636-88E5-407A-90B1-<wbr>71785314B294@rochester.rr.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
<br>
> On 30Apr, 2018, at 12:08 PM, Wayne Rasmussen via Stagecraft <<a href="mailto:stagecraft@theatrical.net">stagecraft@theatrical.net</a>> wrote:<br>
> <br>
> The director is concerned that during Act 2, the actors on the backstage side of the set will be unable to hear the lines that the actors on the front of the set are saying?when the audience is laughing. Lines are easily heard in rehearsal. The director has approached me about finding a way to enable to actors to hear the lines over laughter, so that their backstage movements will be coordinated with the lines being spoken on the other side of the set. I have responded that I don?t think I can find a way to make that work. In one scenario, if I were to somehow place speakers so that the actors can hear, the audience will hear those same speakers. The sound will not emanate from the proper source (the other side of the set). In scenario two, if the actors were to somehow know what lines were being spoken (in-ear monitors) and responded appropriately to their cues, the laughing audience won?t be able to hear the same lines and the subsequent movements won?t make sense !<br>
to them. <br>
<br>
<br>
General area mikes pick up the ?On-stage? side, which feed speakers hidden in the set on the ?Backstage? side. Since they are pointed away from the audience in acts I & III, and the volume shouldn?t be too high (just ?fill?) it shouldn?t me a problem.<br>
<br>
Alternatively, can the set be surfaced in a more ?sound porous? Material? (scrim-like material.)<br>
<br>
Bruce<br>
-----<br>
Bruce Purdy<br>
Central New York Magic Theatre Co.<br>
<a href="http://brucepurdy.com" rel="noreferrer" target="_blank">http://brucepurdy.com</a><br>
<br>
<br>
<br>
<br>
<br>
-------------- next part --------------<br>
An HTML attachment was scrubbed...<br>
URL: <<a href="http://theatrical.net/pipermail/stagecraft_theatrical.net/attachments/20180430/31a88679/attachment-0001.html" rel="noreferrer" target="_blank">http://theatrical.net/<wbr>pipermail/stagecraft_<wbr>theatrical.net/attachments/<wbr>20180430/31a88679/attachment-<wbr>0001.html</a>><br>
<br>
------------------------------<br>
<br>
Message: 4<br>
Date: Mon, 30 Apr 2018 14:48:10 -0400<br>
From: Stephen Litterst <<a href="mailto:litterst.stagecraft@gmail.com">litterst.stagecraft@gmail.com</a><wbr>><br>
To: Stagecraft Mailing List <<a href="mailto:stagecraft@theatrical.net">stagecraft@theatrical.net</a>><br>
Cc: Wayne Rasmussen <<a href="mailto:rasmuw@blair.edu">rasmuw@blair.edu</a>><br>
Subject: Re: [SML] Noises Off Dilemma<br>
Message-ID: <<a href="mailto:5b30b3a4-022b-e327-01a9-6d91dbde5b2f@gmail.com">5b30b3a4-022b-e327-01a9-<wbr>6d91dbde5b2f@gmail.com</a>><br>
Content-Type: text/plain; charset=utf-8; format=flowed<br>
<br>
On 4/30/18 12:08 PM, Wayne Rasmussen via Stagecraft wrote:<br>
<br>
> The director is concerned that during Act 2, the actors on the backstage <br>
> side of the set will be unable to hear the lines that the actors on the <br>
> front of the set are saying?when the audience is laughing.? Lines are <br>
> easily heard in rehearsal.? The director has approached me about finding <br>
> a way to enable to actors to hear the lines over laughter, so that their <br>
> backstage movements will be coordinated with the lines being spoken on <br>
> the other side of the set.? I have responded that I don?t think I can <br>
> find a way to make that work.? In one scenario, if I were to somehow <br>
> place speakers so that the actors can hear, the audience will hear those <br>
> same speakers.? The sound will not emanate from the proper source (the <br>
> other side of the set).? In scenario two, if the actors were to somehow <br>
> know what lines were being spoken (in-ear monitors) and responded <br>
> appropriately to their cues, the laughing audience won?t be able to hear <br>
> the same lines and the subsequent movements won?t make sense to them.<br>
<br>
Why is this only a problem in Act 2? Acts 1 and 3 have plenty of funny <br>
moments that require hearing what's on the other side of the scenery. <br>
Not knowing your space, I'm willing to bet the actors will hear just fine.<br>
<br>
In your first scenario, if the actors can't hear sound through the wall, <br>
neither can the audience. So the speakers shouldn't be an issue. If <br>
the audience can hear the speakers through the wall, then the actors can <br>
hear their costars and the speakers are not necessary.<br>
<br>
Do you have time in your production schedule for invited dresses or <br>
previews? A farce really requires a few trips in front of an audience <br>
because their laughter really impacts the pacing of the action onstage. <br>
If an actor enters off a line, that may step on the audience reaction, <br>
letting some of the funny escape.<br>
<br>
Steve L.<br>
-- <br>
Stephen Litterst Technical Operations Supervisor<br>
<a href="mailto:litterst@udel.edu">litterst@udel.edu</a> Mitchell Hall<br>
302/831-0601 University of Delaware<br>
<br>
<br>
<br>
<br>
------------------------------<br>
<br>
Subject: Digest Footer<br>
<br>
______________________________<wbr>_________________<br>
Stagecraft mailing list<br>
<a href="mailto:Stagecraft@theatrical.net">Stagecraft@theatrical.net</a><br>
<a href="http://theatrical.net/mailman/listinfo/stagecraft_theatrical.net" rel="noreferrer" target="_blank">http://theatrical.net/mailman/<wbr>listinfo/stagecraft_<wbr>theatrical.net</a><br>
<br>
<br>
------------------------------<br>
<br>
End of Stagecraft Digest, Vol 44, Issue 24<br>
******************************<wbr>************<br>
</blockquote></div><br></div></div>