Week Six - Tech Week

Or other wise known as Hell Week, where the production moves into the performance space (Richard Hugo House), lays out the props, builds the sets, hang and focus the lights, set up the projection system and synch it to sound and lights, set sound cues and volume levels for each cue---and, oh, yeah integrate all this technical wizardry into the performance of the actors. All within the space of four evenings.

Prepping for this started with "paper tech": director David Hsieh, stage manager Jason Panzer, lighting designer Maggie Lee and the sound designer sit around a table at Prima Vera and go through the script, placing each and every cue, whether it's lights, sound or video, with a rough idea of how long transitions and sounds are. Well over 200 sound and light cues were placed over the course of paper tech (much to the aggravation of stage manger Jason, who runs the show, i.e., calls each and every show at the exact moment they're supposed to occur).

Today, we rushed into Richard Hugo House and brought in and assembled the set. The lighting designer immediately began setting up lights, setting their focus and hooked them into the right electrical circuit. Our production intern dropped in to help with the lights while the set was being assembled. I dropped in just in time to watch the last of the set get put together (though I did spend time following up on placement of announcements on websites and paper). 

Not all load ins go smoothly. Hanging and focussing of lights have been OK, but there's been some slight problems with sound--there's some interference going on and we're trying to track down the source of it. Right now, though, that's taking some time, and with just four short evenings to pull together the show in its final form (with all props and costumes as well as technical cues), we've decided to do what we can now, and try to track down the problem tomorrow. Right now, we're working with the sound cues as they are now, and letting the actors work with them---which is important, since this is the first time they've ever heard them (this isn't unusual, although when I sit in the designer's chair, I'll have certain sound cues ready weeks ahead of time, so we can hone actors reactions--for comedy, timing is everything, so having actual sound for rehearsals is vital).

This can be tedious sometimes, as actors may have to wait until tech can mesh up and solve problems that may crop up (or try to solve before pushing it to another day). Fortunately, we've brought in costumes, and we're having actors try them on for size and looks when we simultaneously deal with lighting and sound issues.


Finally, we launch into a cue-to-cue, running the lights and sound cues in sequence, with actors saying their lines and moving into their blocking; however, at a cue-to-cue, tech takes precedence, as this is the first time they've been able to pull everything together. But we manage to work our way through this and get a better handle on how this show runs. I can see visible steps taken by all the actors from even the last rehearsal (that was Sunday!). Good sign, I hope.

YELLOW FACE is a production of both the Pork Filled Players and Repertory Actors Theatre. It opens on Friday, August 5 and runs through Saturday, September 3 at the Richard Hugo House (1634 11th Ave in Seattle’s Capitol Hill area). Shows are 8 pm Fridays and Saturdays at 2 pm and 8 pm. Admission is $15 General Admission, $12 Students/Seniors/Artists at the door; tickets can also be purchased in advance at Brown Paper Tickets (http://www.brownpapertickets.com/event/181433) for $12 General, $9 Students/Seniors/Artists (Reservations recommended). Discounted group rates are also available for parties of 10 or more. For more information and ticket reservations, please call the ReAct Box Office at (206)364-3283 or visit online at http://www.reactheatre.org or go to the Pork Filled Players website.


And we've release a second video:

We'll talk more, later.