The technical crew were students on the two-year fast-track BA Honours Degree in Technical Theatre, which is validated by Middlesex University. The production brings the action of Shakespeare’s play forward to the 1920s, using the period’s developments in the fields of quantum physics and genetics as the background for Prospero’s grasp of ‘magic’. It was also decided to use moving projection to visually characterize the ‘masque’ aspects of the play.
Mountview strives to give its students access to the latest technology, and this production has taken them to the leading edge of stage projection. When Debbie Seymour opted to use moving images to add another dimension to the production, Matt Prentice, head of lighting and sound at Mountview, turned to Nigel Sadler at newly-formed Scene Change for help with the video control system. In conjunction with High End Systems, Scene Change provided a Catalyst Media Server and custom video content which played back the necessary clips perfectly on cue, without the need for additional video operators.
Especially useful was the Catalyst’s ability to colour mix and keystone the image so that the moving images would blend in with the traditional lighting and the set. Additional video content was edited and mixed by Mountview’s head of television, Jonathan Woolfe. Matt Prentice told us: "Originally, the first part of the masque was to be lit by projected streaming calculations, as if mapping DNA or astrophysical formulae, but it didn’t read visually, so we used stop photography images of nature throughout, with several cues to match particular sequences with sections of text. The whole effect was very theatrical. This was emphasized when the scene suddenly evaporated at Prospero’s command and returned to the previous LX state, with the spirits rushing off in disarray."
Mountview purchased an Infocus LP500 digital projector from Stagetec, who also sponsored the production by providing a Compulite Luna automatic yoke for the duration of the show. This enabled the team to use the Catalyst system, without the moving mirror and large projector - an ideal solution with little extra space in the grid.
The Catalyst was controlled by Mountview’s own Strand 500 Series lighting console which, along with the Strand 300 Series desk, is used on all the school’s productions. Andrew Norris, as assistant LX, wrote the 54-attribute fixture required to control the Catalyst system. This worked well on the 500 Series software, giving the team access to all the 16-bit functions of the Catalyst - meaning that it could be programmed into lighting states without the need for another operator.
The Mountview technical crew included designer Louisa Habgood, assistant designer Sally Longford, lighting designer Nick DeCourcy, stage manager Catherine Fiabane, deputy stage manager Sharon Lewis, sound designer Jennifer Spohn, production LX Jamie Beeson and assistant LXs Andrew Norris and Jon Harris.
Lee Baldock
