The Making Of
Production Diary - Setting the Stage
By Wayne Robinson, Carpenter
Wednesday, October 22, 2008
I'm back! As some of you may know, I used to write a column for KÀ. I have since transferred to the install of LOVE, our newest permanent show based on the music of the Beatles.
The install of any resident show is unique within the technical world. As an industry leader, Cirque du Soleil pays close attention to creative elements, and their use of acrobatics and special effects demands that the construction or re-build of the theatre in itself presents special demands. It needs to be higher, bigger, wider, and a great deal of attention must be paid to get everything to fit.
Depending on when you join the install crew, the theatre can be at any number of stages of construction. When I arrived, all the digging had been done, the seating platforms were in place, and most of the ironwork for the grid had been hung. But to meet the opening date scheduled for June, there is still a lot of work to complete. Scenery and props are already arriving from Montreal in preparation for rehearsals beginning in the next few days.
This install creates challenges in that the show will be presented "in the round," which means there is no on- or off-stage to move scenery! All scenery will have to be transported from high above or from below the stage! As with every new Cirque creation, there will be elements of theatre never attempted before. Sworn to secrecy, we are forbidden to divulge any detail before its upcoming release! But I can disclose that there are five lifts, which we call sloats, to transfer scenery and performers from the lower levels to the stage level.
To be a part of the construction/creation phase is rewarding, and daily progress is noted each day I report to work. The theatre already looks a lot smaller than when I first signed on! Each day tTrussing, masking, lights, speakers, scenery pieces, props, and floor and wall coverings appear out of nowhere, the creation comes to life. At this writing, the carpenters are beginning to formulate show transitions and assignments of cue tracks, and are assembling all the "stuff" Montreal has shipped in by truck. Everything comes in pieces, so on arrival, the "stuff" is being put together and staged in its "home" space.
Lighting has about 90% of the lights hung and will soon begin the focus routine. Audio will begin the sound checks, including the speakers mounted directly in the seats. Automation is programming all of the lift and trap moves and setting cue sequences to be timed with scene performances. Physiotherapy is assembling exercise equipment that will keep performers in shape. Wardrobe is gearing up to care for all the costumes and make-up needs. Rigging has most of the rigging suspended from the grid, ready to accept flying scenery and acrobats. Stage Management is mapping out rehearsal schedules and coordinating with the technical crew for scene transitions … Needless to say, it's busy here, and the schedule will hold its intensity until the grand opening!