(Re)Creating The Encounter

by Bryan Reesman
Simon McBurney in The Encounter

It took two sound designers – Gareth Fry and Pete Malkin – to develop the binaural audio landscape for this one-man Broadway show

The Encounter has redefined what a one-man show can be and do on Broadway. The set-up is simple enough. Simon McBurney sits in his London apartment and tells the true story of National Geographic photographer Loren McIntyre, who got lost with a tribe in a remote part of Brazil back in 1969. The stage backdrop looks like a giant recording studio with sound dampening foam lining the back wall, and the aural adventure takes us deep into the head of the narrator and our own imaginations.

Golden Age of Gear

by Jacob Coakley
Golden Age of Gear

Art may be a hammer, but it takes a hammer to make theatre

Before I became an editor, I was an IATSE stagehand—a fact which I am sure makes my stagecraft teachers smack their heads with disbelief. But it’s true. I trained as a sound designer and that’s how I got my membership, but like anyone else trying to work in this industry I took a lot of calls that were outside my preferred field. I did this to prove my worth, my dedication, and yes, to make rent. So I took the calls where I mixed audio, but also calls where I did computer networking, focused lights, framed projection screens, and hung up miles of drapes. 

More Room, More Seats, More Money

by Randi Minetor
in Feature
The Staging Concepts Seating Wagon in Northrop Auditorium at the University of Minnesota in Minneapolis moving into place.

Make your theatre more versatile with convertible staging and seating

Few performing arts venues have the luxury of being one thing or the other. A concert hall may also need to present full-scale theatrical productions, and a black box may be an area’s only place to bring solo musicians, small ensembles and lectures with projected slides. School districts know the benefits of housing a “gymnatorium” rather than two or three separate rooms for the cafeteria, gymnasium and auditorium.

Product Hits of AES 2016

by George Petersen
in Feature
The entrance to the 2016 AES show
The entrance to the 2016 AES show

Live Consoles Shine in the City of Angels

From Sept. 29 through Oct. 2, 2016, thousands of audio professionals made the annual trek to the Audio Engineering Society convention. Here’s a quick round-up of some of the more interesting product debuts for live sound. 

See Clearly

by Jacob Coakley
in Feature
A Buyers Guide to foggers and hazers

A Buyers Guide to Foggers and Hazers

From just a light haze to make your lighting pop to Natasha Katz’s ingenious use of fog in Long Day’s Journey Into Night, atmospherics continues to grow and do more than just offering billows of low-lying fog. (Though of course it does that, too, much to the delight of Phantom productions everywhere.) Here’s the latest of what’s on the market. 

Show Offs

by Jacob Coakley
in Feature
New gear shown bright at LDI

LDI 2016 ratcheted up the glamour and the gear for a vibrant show

LDI, that annual photon bacchanal, once again took over Las Vegas and left us with new fixtures, LED panels, truss and tools. Here’s a quick glance of what’s a good fit for the theatre market.

The Gilded Cage

by Lisa Mulcahy
Sylvia Milo as Nannerl Mozart in The Other Mozart

Origami, tulle and metaphor create a dress that is costume, cage and set piece in The Other Mozart

The Other Mozart by Sylvia Milo tells the story of Wolfgang Amadeus Mozart’s unsung sister, Maria Anna Walburga Ignatia (nicknamed Nannerl), a musical virtuoso in her own right. Nannerl is held back from succeeding in music because of her gender, caged in by the expectations and requirements of women at the time. For the play, Milo and her costume designers Magdalena Dabrowska and Miodrag Guberinic wanted to create an opulent yet functional outfit that was true to the period—and subtext of the piece—yet yet could still travel easily. They ended up creating a beautiful dress with an 18-foot diameter skirt and panniers that functions not only as costume and the only set for the play—but still folds down into a standard-sized suitcase for touring.

Touring with Stage Automation Part 2

by Stu Cox
in Feature
Stage automation – and its attendant winches, hoist and truss –require some special considerations when touring.

Answering the questions theatres have about touring with automation

Last issue we started a two-part series about taking stage automation on the road. We focused on the challenges and solutions with input from four of the leading stage automation providers: Peter Veal of Creative Conners; Royal Marty of eZ-Hoist; David Bond of Kinesys USA; and Brian Levine and Jimmy Love from Tait. In this second part, we share their advice and tips to theatres and production companies on the common stage automation questions and issues encountered when planning their tours.