Well. We got in at 9am today. We focused at 9:30. But Andrew, the lighting guy not our TD or the SP (haha) did the lights on over the stage and then front of house, instead of doing them together, so I did a lot of sitting around for the first bit. I wasn't the biggest fan of focusing with him either. He wasn't very vocal. And I guess technically you don't have to be - he stood where he wanted the light and I focused it to him and he was happy, but I had to stop and ask if it was good and then prompt him for the next step instead of him being snappy with what he wanted. It worked out okay, and it went fast, but it was just different and it wasn't a manner which I preferred. But the focus was really repetitive so we got into a good system and we got it done, no worries. So no big deal.
The cues were really easy, so Jarrod did the programming and we took a long lunch. When we got back, the artist was in and we looked at the cues and stuff. I got to sit at the bored with Andrew and fix a lot of the cues. He was more fun to work with that way. We talked a lot about the different types of boards and what he'd worked with and problems he'd run in to. It was interesting.
So yeah. The artist want a bunch of front light though which was weird. Andrew classified him as "shadow-phobic" in that he wanted the front lights to wash out the shadows on his face and on the back, and that he though side lights would throw more shadow. When in reality, the side lights would wash out the weird shadows and give him a little dimension. But we work a the Festival of Yes, and we gave him what he wanted. 3 rows of face light at 90% and 4 rows of back light/top light at 70%. The stage was so bright it kinda looked like house lights were on a low glow as well. But the artist was happy, so so were we.
We rebuilt the cues that Jarrod had programmed in order to include this uber-bright effect. So I did get to program a little. Then we teched. The show was built around the bare minimum and focused a lot on waiting. There was a pause and slow cues and lots of dead space with silence. It was very weird. So a lot of the cues were taken just a few seconds after something happened, or he would enter a few seconds after the lights came on. It was a very awkward affect, but it kind of worked. It was interesting to see how the audience reacted to it.
He starts the show monotone, talking about his life. And he continues that way. He does some example dances with no music - sometimes he kept beat through them, sometimes he talked or cracked small jokes. And he went on like that. At the end, he did one dance to music. But the dance was him looking at the audience (the dance does what the title says: "I'll Be Watching You by The Police"...so you get it). So it was the same awkward bareness. I dunno. I didn't completely dig it but you could see what he wanted everyone to get out of it and it worked for him. There were funny moments and sad moments and interesting moments and dull moments - it had a lot of levels, honestly. Just a different way of achieving them.
No colors in the lights, no sound but his voice, no set, just a blank stage and blank movement. Very much the reality of dancing..what's behind the movement without the music.
I got to do a cue and everything though. My inner stage manager shining through. There is no stage manager with this show, so Andrew (the TD) gives me the house and lets me call the pre-show announcement and start the show. And I take all my own light cues. So I sort f get to do a little SM work. I felt proud of it, at least.
So yeah. I get to do that for the next 3 nights. And tomorrow we load and tech East 10th Street so that will be going on too.
Long day tomorrow. Then it evens back out. Check back for how tomorrows focus and tech goes.
The cues were really easy, so Jarrod did the programming and we took a long lunch. When we got back, the artist was in and we looked at the cues and stuff. I got to sit at the bored with Andrew and fix a lot of the cues. He was more fun to work with that way. We talked a lot about the different types of boards and what he'd worked with and problems he'd run in to. It was interesting.
So yeah. The artist want a bunch of front light though which was weird. Andrew classified him as "shadow-phobic" in that he wanted the front lights to wash out the shadows on his face and on the back, and that he though side lights would throw more shadow. When in reality, the side lights would wash out the weird shadows and give him a little dimension. But we work a the Festival of Yes, and we gave him what he wanted. 3 rows of face light at 90% and 4 rows of back light/top light at 70%. The stage was so bright it kinda looked like house lights were on a low glow as well. But the artist was happy, so so were we.
We rebuilt the cues that Jarrod had programmed in order to include this uber-bright effect. So I did get to program a little. Then we teched. The show was built around the bare minimum and focused a lot on waiting. There was a pause and slow cues and lots of dead space with silence. It was very weird. So a lot of the cues were taken just a few seconds after something happened, or he would enter a few seconds after the lights came on. It was a very awkward affect, but it kind of worked. It was interesting to see how the audience reacted to it.
He starts the show monotone, talking about his life. And he continues that way. He does some example dances with no music - sometimes he kept beat through them, sometimes he talked or cracked small jokes. And he went on like that. At the end, he did one dance to music. But the dance was him looking at the audience (the dance does what the title says: "I'll Be Watching You by The Police"...so you get it). So it was the same awkward bareness. I dunno. I didn't completely dig it but you could see what he wanted everyone to get out of it and it worked for him. There were funny moments and sad moments and interesting moments and dull moments - it had a lot of levels, honestly. Just a different way of achieving them.
No colors in the lights, no sound but his voice, no set, just a blank stage and blank movement. Very much the reality of dancing..what's behind the movement without the music.
I got to do a cue and everything though. My inner stage manager shining through. There is no stage manager with this show, so Andrew (the TD) gives me the house and lets me call the pre-show announcement and start the show. And I take all my own light cues. So I sort f get to do a little SM work. I felt proud of it, at least.
So yeah. I get to do that for the next 3 nights. And tomorrow we load and tech East 10th Street so that will be going on too.
Long day tomorrow. Then it evens back out. Check back for how tomorrows focus and tech goes.
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