Theatre Design & Technology - Fall 2012 - 55

Interactive

The brigantine Playfair was one of three tall ships that served as set pieces for the drama.

As it turned out, cricket tracks came to the rescue, the
kind of sizzling crickets with substantial high frequency content
that you hear on a hot summer day, distributed throughout the
park. While they couldn't mask the roar of the city, the crickets
sat well above it in the frequency spectrum where our hearing is most acute, and thus diverted attention away from the
mechanized din of our twenty-first-century world, allowing it to
more or less fade into the background of awareness, much like
the hum of the refrigerator that you seem to hear only when
it shuts off. Coupled with the willing suspension of disbelief,
it seemed to do the trick. An unforeseen benefit was that the
crickets apparently made people happy.
Because of the number of loudspeakers, their spacing
around the park, and the fact that the audience would be wandering around and not sitting in one place, I cut the effects in
mono, so that the sense of stereophony or spaciousness would
be rendered naturally, as with almost any outdoor sound reflecting off the ground and other surfaces.
Alongside a thirty-minute bed of crickets destined for every loudspeaker in the park except those at the water's edge, I
laid tracks of wind in leafy trees and a variety of summer birds,
all recorded in the woods and fields near the shore of Georgian
Bay, and routed them out of the loudspeakers located near trees.
To this I added a number of individual bird tracks-blue jays,
cardinals, woodpecker, song sparrow, meadowlarks, chickadees, crows-along with a few squirrel chucks and screeches,
and distributed these in a random, alternating fashion to the
loudspeakers near the trees, moving them around so the same
birds didn't always appear to be perched in the same trees.
At my studio, David Sutherland and I programmed these
tracks to loop indefinitely, since we knew the duration of the

performance would be highly variable. We didn't worry about
the shorter bird tracks sounding loopy because birds tend to
produce very repetitive sounds to begin with. And with so much
going on, I was banking on the fact that no one would be listening intently even once, let alone twice in a row, when a looping
point came around, provided that there were no easily identifiable, idiosyncratic elements in any of the sound effects.
We routed the aquatic birds and marine sounds to the single loudspeaker on the wharf as well as to a pair of shipboard
loudspeakers. Once the schooner Challenge had tied up a few
minutes into Act One, we had three loudspeakers at the water's
edge for the rest of the show.
The final component of the soundscape consisted of prerecorded commands ostensibly shouted by a couple of the
ship's crew, to be replayed from Renkus-Heinz PN82 loudspeakers strapped to the main mast and cockpit arch of the
schooner. As she approached the wharf, the audience would be
able to discern, if at first only faintly, vocalizations from across
the water that would be suggestive of maritime adventure. Fortunately, the production's historical consultant, Gord Laco, had
written such dialog for the 2003 epic feature film Master and
Commander: The Far Side of the World and was on hand to
help maintain accuracy in this department.
A few weeks before opening day, I went into the studio
with the show's writers, Terry Hart and Rick Kunst. Assuming
the roles of captain and first mate, they yelled heartily back and
forth, exchanging such chestnuts as, "By the mark, five fathom!" and "Handsomely on the yard's tackle!" We recorded 160
such lines which, when sequenced at a fairly natural pace, filled
the eight minutes from the time Challenge was in range of our
Shure ULX wireless transmitters about 600 feet offshore, until
she had sailed past the wharf once and come around again to
dock. The voices were underscored by ship's creaks and augmented by the occasional well-timed clang of the ship's bell and
high-pitched bosun's whistle.

Routing Matrix and Source-oriented Reinforcement
The soundscape and live actors' dialogue had to be distributed
in various combinations that changed over time to the loudspeakers on the ship, along the rear fence, inside and outside
the tent, and on the gazebo and wharf. This called for a dynamically programmable routing matrix.
Further, it was crucial that we be able to direct the audience's attention quickly to the focus of the action, wherever that
might be at any given moment, given the potential for audience
members to become distracted from the drama or unaware of
its imminent resumption after an interval. Therefore, instead
of simply distributing the actors' wireless microphone signals
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theatre design

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2012

Contents
Theatre Design & Technology - Fall 2012 - 1
Theatre Design & Technology - Fall 2012 - 2
Theatre Design & Technology - Fall 2012 - 3
Theatre Design & Technology - Fall 2012 - Contents
Theatre Design & Technology - Fall 2012 - 5
Theatre Design & Technology - Fall 2012 - 6
Theatre Design & Technology - Fall 2012 - 7
Theatre Design & Technology - Fall 2012 - 8
Theatre Design & Technology - Fall 2012 - 9
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Theatre Design & Technology - Fall 2012 - 11
Theatre Design & Technology - Fall 2012 - 12
Theatre Design & Technology - Fall 2012 - 13
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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