Since the last post about the Magic Flute in London, it has opened and closed its doors to the public. It seems about time for an Autumn/Winter update having neglected blogging for a while.
First was a brief trip back to Newcastle and the Theatre Royal for a re-mount of the RSC’s, David Farr, version of Hamlet, Working with the amazing Claire and Jon from Stratford. Moving the sound for the show from a Thrust design to an end on design was a good challenge, but great to have a good set of proscenium speaker positions to replicate some of the design and luckily the majority of onstage speakers were able to stay in similar positions, so we could still bring sounds down to be part of the onstage action, but bring some of the music to the front to push some energy into the audience.
This was followed by The Magic Flute at the ENO which was great to bring a show back with a totally different crew and venue to last year and also interesting to see what a UK audience made of it. The space was quite different, but one of the more successful features of the design ended up being the blending of the re-enforced dialogue with the acoustic sung pieces.
The Noise also returned for a brief visit to Leeds’ West Yorkshire playhouse and to the Warwick Arts Centre. Had a great in house rig in Warwick’s studio space and a much better position for a set of Vocal Speakers, used (as the name suggests) for radio mics on the cast, brilliant to hear the show in a more intimate space and layout, it really helped us to mix the sound/music content with the dialogue.
(Yes I’m now addicted to Panoramic iPhone shots, even in the studios!)