Date: 8.11.16 Time: 2:10
Attendance: Alan, Ricardo, Missy
General:
· Alan has prepared scene by scene renderings to present and modify with Ricardo at this meeting.
· The lighting style that will be used is low angle side light. It is important that the lights and platforms are positioned perfectly to not have light bleed on the scrim. Because of this platform placement may be slightly adjusted but their size will stay the same.
· Alan has copied the scene renderings and given a set that has been reviewed to both Ricardo and Missy.
· Alan departs will not return from his vacation until August 19th, this meeting will reconvene after rehearsals start on the 23rd.
The Basic Elements:
· Rear projection screen with black scrim hung down stage of it. There is 22' between Projector and screen
o Imagery will be projected onto the RP screen by projector "#1" mounted on the up center right wall.
· SL platform will be 16" high and have a step on the DS side that is 8" high. This step will cover 80% of the 16" platform beginning flush with the off stage edge. This entire unit may swivel to a more parallel angel to the audience than what is currently drawn. This would make more space for the center stage pathway.
o There will be a gray Kabuki drop directly behind the 16" platform at the top of the show that will release on cue, and another (also hung directly behind the 1st drop) that will both fall to hang and release to the floor on cue(s).
o The Kabuki drops will have imagery projected onto it by projector "#2" that will be mounted as far up stage left in the corner of the theater wall as humanly possible. The drop is to simulate the iceberg and projected images will be clouds.
o A small platform will be located SL behind the Kabuki drop(s) for the Creature to stand on. It should be between 24"-30" high and large enough for the Creature to be assembled upon it.
· SR platforms include a base level at 16," this base level will support a 7' (from stage deck) platform that is roughly 4'x4' wide identified as the Lookout.
o The Lookout will be flush with the back side of the 16" platform. (3 people should fit up on the 4x4 platforms) on the downstage side of this platform there will be a bi-fold flat 0that will open for the Laboratory scene for a lighting effect.
o There will be a steep staircase to access the Lookout platform that goes from 0'0" to 7'0." This item is already built and located in the shop. The stairs will not be mobile.
o A 8" step unit will be located on the onstage/downstage side of the 16" platform and be flush with the center stage edge and only cover 80% of the 16"platform.
o Currently a cot, table, and 2 chairs are the only furniture props mentioned to be on the SR platform.
· There are 4 masking flats that are noted. 2 positioned stage left and stage right
· There will be another (maybe) projector mounted house right to project onto the down center floor deck a water image.
· The Creature may be utilizing the 'displaced voice' concept. If this is the case, all 3 members of the Creature will be wearing wireless microphones and voice will be routed to a speaker somewhere in the house. Alan is cautious about fully committing to this idea because of the concern of who will be running the equipment; in such a short tech period there will be a lot of potential challenges that need addressing.
The Scenes:
1. Iceberg: pg 3, Kabuki drop is in, performers on SL platform
2. Lookout: pg 3, on Lookout platform, clouds are projected over it
3. Iceberg & Lookout: pg 4, combined scenes 1 and 2.
4. Cabin: pg 5, Round portholes are projected over the SR platform with clouds moving past within. There is a cot on DS side of platform in the cabin dressed in some way that shows aristocracy above the crew. Cot may be acting cubes or a real camp cot. Alan believes that RIC owns a camp cot and can put some thought to finding it. Ricardo is hesitantly leaning to acting cubes at this time. Would like to use the fur coat that Victor was wearing as a blanket or over the top of the blanket on the cot.
5. Cabin & Tree: pg 7, Actor goes up on Lookout when Victor talks about being lashed to a tree. there will be a vertical pipe mounted to the trailing with a light attached to symbolize the both the tree and the fly bridge beacon on a boat. Another pipe or piece of wood will be mounted to this vertical one but in a horizontal fashion with 2 lengths of hemp each tied into a noose, one fastened on each end. The performer will slip their hands into the nooses. (the rope for this should be substantial- not weak looking.) The performer may end up leaning on the vertical or horizontal pipes. For the lightning effect, there will be a light flash on the boy's face, thunder will be heard off right and there will also be the sound of wood breaking. The roll of the boy has not been casted at this time, whomever it will be needs to be nimble.
6. Clerval: pg7, Creature will be standing on mini platform SL in dim lighting. Creature will not be in the saddle yet but they are huddled together. Kabuki curtains are still in but will be cued to fall and the creature will be exposed but face will not be seen. Maybe this is accomplished by saturated magenta/green lighting or a veil from Charlotte? Could also use some lighting effect to have a silhouetting effect of the Creature. This would be a great place for the creature's voice to appear "displaced.",
a. Cabin Cross Fade: pg 8, Walton stays on the ship, Victor stays where he is, Father comes in the center, Mother will reuse the cot from the Cabin but in a new location on DC next to the SR step.
7. Home: pg 9 creature exits, servants enter setting up the home/bed from cabin DC next to SR step, flip blanket over for other side, Mother, Elizabeth, Father enter C, Walton watching from the cabin.
8. Lecture: pg 10, Waldman SL on Creature's mini platform.
9. Lab: pg 10, SR platform, bi-fold flat opens by Victor. Lab coat is obtained & worn it should look more like a frock coat that is light in color. Victor will also need to take something off/ loose something too. A gurney (borrow from Trinity) is brought on to the lower level with all 3 actors for creature on it (arms and legs hanging off) they should be wearing gauze attire, straps from harness can be seen to 'hold creature together.' Animation effect will have music, flash of light, and pulsing of light behind the bi-fold flat. Creature will assemble to full height and Victor will go and sit on Gurney. Elizabeth and mother will enter the scene, Spin the gurney around several times. Creature will cross into position by the bi-fold flat for a silhouette effect. Mother exits at this time and Elizabeth goes to SL platform. As Soon as Victor gets off the gurney, it is struck.
10. Victor's House: pg 11, Picture window with trees
11. Funeral: pg 13, Coffin (borrow from Trinity) enters from UC stays DC. Priest crosses to the SL creature platform, Creature & Priest will swap. a Church like window will project onto RP. Possibly use a stained glass gobo. When Victor starts creating the cot will be returned to SR platform and the Cabin is reset.
12. Cabin: pg 14, same
13. Victor's House: pg 14 Starts when Father enters, no cot needed.
14. Court: pg 15 Black ground with no projections, Justine enters C and crosses DC. Father & Elizabeth are SL
15. Hanging: pg 16 Alpha climes up to Lookout ahead of Priest and Justine. Victor grabs at Priest but Alpha as Hangman is already there. Uses the noose ties from previous scene.
...to be continued
The next meeting will be held after first rehearsal. The exact time and date of this meeting has not been determined yet because of flocculating schedules from all parties.
Date: 8.10.16 Time: 10:40
Attendance: Alan, Ricardo, Missy, Sam
General:
· The film that Ricardo has been casted in is behind schedule and he is concerned that they will move the shooting of his scenes to the first week of rehearsal. This is possible because of the improvisational directing that the film has, however he will keep us informed as soon as he knows more.
· Ricardo's mother's 90th birthday is August 27 and he will need to have an alternative plan for rehearsal that day (Saturday). This plan is being developed and he will know more of what he would like by the 23rd.
· All parties present are not having the best day: Ricardo left the house without his bag, Alan without his renderings and notated script, and Sam was delayed with slow moving public transportation hindered by the weather.
· Sam primarily sees his roll on this production as that of a music consultant due to his schedule and availability change from when the project was first introduced.
· When lines are noted CR in the script, all 3 characters (Alpha, Beta, and Gama) will say their lines in unison. There are moments where Victor's character may also join in. This however, is not for every instance.
· Ricardo always asks where does the experience start for the audience. He feels as though it needs to start before the play however does not want to give any stage magic away. Just enough tone to take them out of the world that we live in today.
· At the top of the show, Victor and the Creature are seen huddled on the iceberg. Victor wanting to die and the Creature not allowing it.
· As the script currently stands the total running time without intermission is 92 minutes. Ricardo would like to get it to a realistic 85minutes or a hopeful 72 minutes.
· Ricardo does not want the audience to feel safe or secure for any part of the story.
· Alan needs to speak with the student who he would like to assign to the production as the Assistant Designer. This will be put on hold until classes start.
· Ricardo is ok if the audio technician is stationed in the house as long as that person conveys the same energy as the production.
Audio:
· Ricardo has concern about balancing /atmosphere with the Creature's 200 year old story.
· Scenes on the ice
o have a minimalistic quality, snipits of the crew's modern music may be heard bouncing off the ice to make isolation that much more impactful.
o ice should have both peaceful moments and others that bring dread of primal fear and desolation. There can also be an added layer of wind to this.
o Sound of ice cracking should be scary and impactful. It will be difficult to find good quality ice cracking effects.
· Crew in modern day stuck in the ice but listening to their own style of today's music. In a previous production House of Pain's "Jump Around" was used for this. For this production, something with a identifiable groove will work well- hip-hop.
· Composer's and scores sampled:
o John Luther Adams, In White Silence: (he is a composer who wrote music inspired by the elements in nature.) The piece is described to be moving in a logical manner. Ricardo would like to start with this and then move into something with more urgency. It would be ideal for the blackout after the 'emergency exit' speech before the show starts.
o Steve Reich's, Violin Phase: the piece has more urgency but doesn't feel unnatural. Potentially looking for something with "contemporary minimalism that has an industrial feel."
o Soundtrack from The Thing, also titled by Alan as the Ambient Track: has a sense of foreboding .
o Charles Ives', The Unanswered Question: builds anticipation and has a sense of solitude
o Henry Cowell's The Banshee: very creepy! the scrapings of the inside of a piano. Ricardo was very pleased with this selection.
o Arvo Part's, Spiegel im Spiegel: very soft and loving.
o Iannis Xenakis: Metastasis: very suspenseful, may need to splice the chimes sooner into the timing and add more of the "block" sound- but ideal for the creation scene.
o Beethoven's Schreckensfanfare: not exactly what Ricardo was looking for. Too classical.
· Ricardo is invested in the idea of a repeatable beat or block that can be manipulated for a quickening tempo at different moments of the show. It should feel as though it interrupts the musicality; feeling unnatural in that moment. This effect symbolizes the link between Victor and the Creature.
· There should be 2 kinds of bells (or modern day horns) 1- there is a ship sailing on the ice with low visibility, 2- Man overboard.
o the 1st kind of horn should almost blend or be incorporated into the hip-hop music of the crew.
· When the fight happens the crew will need to be voiceover rather than live
· Violent music is needed when the creature is beaten in the village.
· Clerval's scene where he does the "Rhyme of the ancient mariner" should have a something that is happy with operatic instrumental texture to it. Possibly an overture from an opera? Sam will work on this.
· Creepy sappy music can be played on page 7 &8 when Creature and Victor say their lines in unison.
Sequencing of Cues (At this time):
A. Preshow Music TBD
B. "Emergency Exit" speech
C. at opening of show, should be calm and peaceful
D. sudden ice crack that is scary and impactful to build suspense
E. music from the ship announcing that it is in the distance but approaching. Clips should be no longer than 30 seconds
F. ship's warning bell (fog horn of Sailing) {lines overlaid}
G. crushing of ice on the hull of the vessel {lines overlaid}
H. Music (from listed cue E) should start to crescendo at the time of the transition into Caption & Walton talking. Just before lines start the music fades into the background so the lines can be heard.
I. Ship's warning bell (fog horn of Man Overboard) - this will interrupt the conversation between Walton & 1st Mate. {crew reacts all over the stage and house}
J. Big Splash (when Creature jumps into water- heard not seen) light shift& all sound out
K. Radio playing in Walter's Cabin (not hip-hop, possibly Sinatra or classical.) Turning the radio off will be mimed by Walter.
L. Thunder (from lighting effect when Young Victor is lashed to the tree)
M. Sound of tree cracking/ breaking
N. Thunder (creation scene)
O. Audio track of Iannis Xenakis: Metastasis
P. Heart beat with pulsing light behind the bi-fold laboratory flat.
Q. Breathing?
R. Tolling of church bells for William's Funeral
S. Henry Cowell's The Banshee at the revel of Creature in the Priest's cloak. Maybe the Creature will only consist of Alpha at this moment.
o Blackout, when lights come up Victor will be holding an empty cloak or someone else will fill it.
T. Hangman Bell
U. Audio for lowering the hatch door for the hanging. (This will only be heard, not seen)
V. Creature breathing (back on the ship)
