The history of Audio in Theatre

The use of sound effects in theatre has evolved dramatically from the early 20th century to the present day, shaping the way audiences experience live performances. What began as simple, rudimentary techniques has developed into sophisticated sound design that enhances storytelling and immerses spectators in the world of the play. Let’s embark on a journey through time to explore the fascinating history of sound effects in theatre.

In the early 1900s, sound effects were primarily produced manually by stagehands using various props and devices backstage. These effects were often crude and relied heavily on physical manipulation, such as rattling chains to create the sound of thunder or clapping coconut shells to mimic the sound of horse hooves. Despite their simplicity, these techniques were effective in creating atmosphere and enhancing the realism of stage productions.

As technology advanced, so did the capabilities of sound effects in theatre. The invention of the phonograph in the late 19th century allowed for the playback of recorded sound, opening up new possibilities for creating immersive auditory experiences on stage. In the 1920s and 1930s, radio dramas became increasingly popular, further pushing the boundaries of sound design and inspiring theatre practitioners to experiment with pre-recorded sound effects.

The advent of film in the early 20th century also had a significant impact on sound design in theatre. Filmmakers developed innovative techniques for creating realistic soundscapes, such as the use of foley artists to create custom sound effects in post-production. Theatre designers began to adopt similar techniques, incorporating pre-recorded sound effects and music into their productions to heighten dramatic tension and emotional impact.

The golden age of radio in the 1940s and 1950s brought sound effects to the forefront of popular culture, as audiences across the globe tuned in to listen to thrilling dramas and comedies broadcast live. Theatre productions began to incorporate radio-style sound design, with sound effects artists stationed backstage to create aural illusions in real-time. This era marked a turning point in the evolution of sound effects, as designers embraced new technologies and techniques to push the boundaries of what was possible on stage.

The advent of digital technology in the latter half of the 20th century revolutionized sound design in theatre once again. Digital audio workstations and synthesizers allowed designers to create complex soundscapes with unprecedented precision and flexibility. Instead of relying solely on pre-recorded sound effects, designers could now manipulate and sculpt sound in real-time, blending recorded audio with live performance to create seamless and immersive experiences for audiences.

Today, sound design plays a crucial role in shaping the audience’s perception of a theatrical production. From blockbuster musicals on Broadway to avant-garde experimental performances in small black box theaters, sound designers work tirelessly to create sonic landscapes that complement and enhance the visual and narrative elements of the production. Whether it’s the haunting sound of a distant train whistle or the thunderous roar of a simulated explosion, sound effects have the power to transport audiences to new worlds and evoke powerful emotions.

In conclusion, the history of sound effects in theatre is a story of innovation, creativity, and technological advancement. From humble beginnings as simple manual techniques to the cutting-edge digital sound design of today, sound effects have played a vital role in shaping the way we experience live performance. As technology continues to evolve, one can only imagine the exciting possibilities that lie ahead for the future of sound design in theatre.

Selling your show – beating the big boys

Developing a marketing strategy for small shows in a fringe environment to compete with larger productions that have substantial budgets can be challenging but is certainly feasible with creativity, targeted efforts, and strategic planning. Here’s a comprehensive guide to help you navigate this process:

1. Know Your Audience:

• Identify your target audience. Who are the people most likely to be interested in your show? Understand their preferences, behaviors, and demographics.

2. Differentiate Your Show:

• Define what makes your show unique. Whether it’s the theme, narrative, or performance style, highlight aspects that set your production apart from larger shows.

3. Create Compelling Content:

• Develop engaging content for your marketing materials. Utilize storytelling techniques to captivate your audience and create an emotional connection. This can include video teasers, behind-the-scenes footage, and interviews.

4. Leverage Social Media:

• Use social media platforms strategically. Create profiles on platforms like Facebook, Instagram, Twitter, and TikTok. Regularly share updates, engage with your audience, and use targeted advertising to reach potential attendees.

5. Engage with Influencers:

• Collaborate with local influencers, bloggers, or reviewers who align with your show’s theme. Their endorsements can reach a wider audience and build credibility.

6. Utilize Email Marketing:

• Develop an email list and send regular newsletters. Offer exclusive content, promotions, or early-bird discounts to encourage sign-ups and maintain a connection with your audience.

7. Partner with Local Businesses:

• Establish partnerships with local businesses or establishments that align with your show. Cross-promotion can extend your reach, especially if these businesses have a customer base that matches your target audience.

8. Community Engagement:

• Attend local events, fairs, and community gatherings. Network with people, distribute flyers, and generate word-of-mouth buzz. Community engagement helps build a local fan base.

9. Creative Ticketing Strategies:

• Implement creative pricing or bundling strategies. Consider early-bird discounts, group rates, or package deals to make your show more appealing.

10. Interactive Marketing:

• Create interactive marketing campaigns. For example, online contests, quizzes, or challenges related to your show can generate excitement and engagement.

11. Local Press and Media:

• Build relationships with local journalists, bloggers, and media outlets. Send press releases, invite them to rehearsals, and offer complimentary tickets. Positive coverage can significantly boost your visibility.

12. Crowdfunding and Sponsorships:

• Consider crowdfunding campaigns to raise funds for marketing. Engage local businesses for sponsorships in exchange for promotional opportunities during your shows.

13. Focus on Online Reviews:

• Encourage satisfied audience members to leave reviews on platforms like Yelp, Google, or specialized review sites for the arts. Positive reviews can influence potential attendees.

14. Utilize Guerrilla Marketing:

• Embrace unconventional and low-cost marketing tactics. This could include street performances, pop-up events, or flash mobs that generate curiosity and attention.

15. Maximize Limited Resources:

• Optimize your budget by focusing on the most cost-effective marketing channels. Track the performance of each strategy and allocate resources accordingly.

16. Build a Website:

• Create a professional website that provides essential information about your show, including dates, venue, and ticketing details. Optimize it for search engines to improve online visibility.

17. Adapt and Iterate:

• Continuously monitor the performance of your marketing efforts. Analyze data, collect feedback, and be prepared to adjust your strategies based on what works best for your specific audience.

18. Encourage Audience Participation:

• Create opportunities for your audience to engage with your show beyond the performance. This could include post-show discussions, meet-and-greets, or interactive online platforms.

19. Build a Street Team:

• Recruit volunteers or enthusiastic supporters as a street team to distribute promotional materials and create a grassroots marketing effort.

20. Harness the Power of Storytelling:

• Craft a compelling narrative around your show that extends to your marketing materials. Make potential attendees feel like they are part of a unique and exciting experience.

In conclusion, successfully marketing small shows in a fringe environment against larger productions requires a combination of creativity, targeted efforts, and strategic planning. By understanding your audience, differentiating your show, and leveraging cost-effective marketing channels, you can build awareness and compete effectively, even on a limited budget.

Lighting Design

Lighting design in theatre, dance, and opera plays a crucial role in enhancing the mood, atmosphere, and storytelling of a performance. It involves the creative and technical process of using light to shape and enhance the visual elements on stage, as well as to support the overall artistic vision of the production. Here is an overview of the process and techniques used in lighting design for each of these art forms:

Theatre Lighting Design:
Script Analysis: The lighting designer begins by thoroughly analyzing the script to understand the setting, time of day, mood, and emotional dynamics of each scene.
Concept Development: Based on the director’s vision and their own interpretation of the script, the lighting designer develops a concept for the production’s lighting design.
Lighting Plot: The designer creates a lighting plot, which is a plan that indicates the placement and type of lighting instruments needed for each scene.
Lighting Instruments: Various types of lighting instruments are used, such as spotlights, floodlights, and special effects lights, to illuminate the actors and set pieces from different angles and intensities.
Color and Intensity: Lighting designers use color filters and gels to create specific moods and atmospheres. They also control the intensity of the light to highlight or obscure certain areas of the stage.
Cueing: Lighting cues are created to indicate when and how the lights change during the performance. These cues are synchronized with the action on stage and can include changes in color, intensity, and focus.
Collaboration: Lighting designers work closely with the director, set designer, and costume designer to ensure a cohesive visual experience.
Notable modern lighting designers in theatre include Jennifer Tipton, Natasha Katz, and Jules Fisher.

Dance Lighting Design:
Movement Analysis: Lighting designers carefully observe the choreography and movement patterns of the dancers to understand how lighting can enhance their performances.
Collaborative Process: Dance lighting design is a collaborative effort involving the choreographer, lighting designer, and sometimes the dancers themselves. It often involves experimentation and improvisation during the rehearsal process.
Dynamic Lighting: Lighting designers create dynamic and fluid lighting designs that respond to the dancers’ movements. This can include changes in color, intensity, and direction of light to accentuate the dancers’ bodies and movements.
Special Effects: Dance lighting design often incorporates special effects, such as projections, fog, or moving lights, to create visually stunning and immersive experiences.
Cueing: Similar to theatre lighting, lighting cues are created to synchronize with the dance movements and highlight specific moments or transitions.
Notable modern lighting designers in dance include Mark Stanley, Al Crawford, and James Turrell.

Opera Lighting Design:
Narrative and Music Analysis: Opera lighting designers analyze the narrative, music, and emotional dynamics of the opera to inform their lighting choices.
Set and Costume Considerations: Opera lighting design must complement the set and costume designs while providing visibility for singers and actors.
Key Lighting: Lighting designers utilize key lighting to highlight the singers’ faces and expressions, allowing the audience to connect with the characters.
Atmospheric Lighting: Opera often requires atmospheric lighting to create a sense of place and mood, especially in large-scale productions.
Projection and Video: Projection and video mapping techniques are frequently used in opera to enhance the visual storytelling.
Collaboration: Opera lighting designers collaborate closely with the director, set designer, costume designer, and conductor to achieve a cohesive and impactful production.
Notable modern lighting designers in opera include Paule Constable, Jennifer Schriever, and Rick Fisher.

Please note that the field of lighting design is vast, and there are many talented and influential designers beyond the ones mentioned above.

VALE: Richard Pilbrow (1933-2023)

Richard Pilbrow, a pioneering lighting designer and theatre consultant, passed away on December 6, 2023, at the age of 90 after a brief battle with cancer. Pilbrow’s impactful career began in 1957 when he founded Theatre Projects, contributing significantly to the development of the lighting design profession in the UK. He played a crucial role in the establishment of the National Theatre company in 1963 and later became a theatre consultant for its new building.

Pilbrow’s influence extended globally, with Theatre Projects Consultants involved in landmark projects worldwide, including the Barbican and the Royal Exchange Theatre in Manchester. He also contributed to the advancement of lighting technology and received Tony Award nominations for various productions. In addition to his contributions to the theatre, Pilbrow was involved in producing stage shows and films, co-founding professional organizations, and supporting new generations of theatre practitioners.

His passing is not only the end of a remarkable life but possibly the conclusion of an extraordinary era in theatre history. Pilbrow’s legacy is celebrated for his expansive thinking, support for others, and the values he instilled in Theatre Projects. His impact on the industry, company, and individuals within it is deeply felt, and his passion for the arts will continue to influence the field.

Lighting design pitfalls for new players

Lighting Designers that are starting out may not know that there are potholes they can get caught in. Let this article give you a better understanding of what the world of lighting designers is like.

First of if you are new to the industry let the company know that. They need to know your experience up front. They have certain expectations or your skills, they may expect more than you can deliver. So, to be honest, they may be more tolerant. As a lighting designer you should know what each light can do – such as beam angles, shutters and barn door, and also a lot about colour theory. You need to have the basic

You have been asked to design the lighting for a local theatre group. This is your first one with this company, therefore it might be a clever idea to have some ground rules in place. Since you are responsible for the lighting design, make sure it complements the set design and aligns with the director’s vision. The copyright is yours even if the client has paid you. Therefore, there are a few things to think about, and which you need to make the client aware of. This is where a simple contract might be helpful. I suggest checking with a lawyer or looking at what others may have done.

When working as a lighting designer there needs to be regular communication between the team and directors. All the distinctive design elements need to work together. Therefore, you need to exchange ideas and work as a team. You will need to attend several rehearsals and production meetings.

Next as the designer of the lighting for a show, you are the owner of the lighting design. You are presenting your artistic vision to the audience, which was designed to complement the Director and other creatives’ vision.. Therefore, if there are any changes to be made to the cues, colour etc of the design, they need to run this by you. They should not just make changes that make it look worse and you have your name attached. So, make sure the company is aware that they need to consult you before getting the lighting board operator to make changes.

Also, you should make sure you have complete documentation of the show design. This is CAD plans, patching charts, colour lists and cues and a script with cues marked in it. Most lighting consoles can provide this info. So, if you have any renderings or drawing of the lighting design looks, they need to be included. The reason for this is that if this production is re-staged by the company, you should get the first right of refusal. But also, they cannot use your design without permission. It is up to you to decide if you want a fee so they can use the design or employ you again to make the show great.

So, you have a lot to think about. again I suggest that a contract is in place, this is so everybody is all on the same page. The contract can have details such as what you are being paid, a re-staging agreement, variations of design clauses and copyright information.

Now this is considerably basic information, but it is a starting point. Any questions feel free to ask.

Some Venues

Well, the Adelaide Fringe is approaching at a rapid rate. But a couple of things have come to my attention, one being venues that have no technical resources. This is a worrying trend. Surely if you are offering a space and/or venue for the Adelaide Fringe, and multiple acts will be using the location, should there not be some basic technical equipment supplied. A few lights for the performance area and a simple PA with a mic and input for playback of audio. I was approached by a performer that had booked spaces at a venue. There was no mention from the venue that there was no equipment. They are a small venue. Though the client should have also asked as well. Now if you are not experienced, this is going to become daunting rather quickly. Also, the venue offering space should be aware that they need to have some basic equipment in place, I gather that after the fringe they are going to try and get corporate clients. Which means they will need to offer some basic tech stuff. Now the potential client that approached about equipment mentioned that the performing for two sessions a couple weeks apart. So, the equipment that they booked would have to bump in and out twice for 2 one-hour sessions. Other acts were performing on the same day and on the other days. So around possible 20 to 25 acts, bringing in their own gear. So that would look interesting with 15-minute changeovers. So, clients of venues need to ask a pertinent question about lighting and audio. Also clients also need to think of all aspects of their production. They need to develop a check list of what is needed and what must be organized. Hopefully we will see less of this as performers learn more of what is involved besides just performing.

Proteus Excalibur™ welcomes in 2023 on spectacular New Year’s Eve London show

Tim Routledge designed a stunning light show to complement fireworks and a drone display with high-power Elation beam lights in each of the London Eye’s 32 pods

London’s largest ever New Year’s Eve celebration took place at the London Eye on the River Thames, featuring a stunning fireworks and drone display accompanied by a mesmerizing light show designed by Tim Routledge. His first time lighting London’s end-of-the-year celebration, Routledge chose Elation’s powerful Proteus Excalibur™ beam moving head as a key fixture in his design.

“We wanted something that could cut through so you could see the beams and create more architecture with light,” Routledge said of his decision to use the Excaliburs. “It was very much about getting the chunkiest beam we could.”

The Proteus Excalibur’s enormous output—the beam light generates up to 7,500 lux at 100 meters—-in combination with a 260-millimeter lens and 0.8° beam competes with xenon searchlights and sky trackers. “It’s hard to punch through the amount of smoke that the fireworks generate,” the designer says, “but we managed to get past that with high-output lighting that was very much visible throughout the show.”

Excalibur in each pod
Routledge took on the project nearly a year ago, first assisting show producers Identity with the tender process and then working with them throughout the year to create a truly exceptional show that included 12,000 fireworks, 400 drones and over 300 high-power lights supplied by Neg Earth Lights.

The designer, who had seen the IP-rated Proteus Excalibur at the Prolight+Sound show last May and demoed the unit in September, positioned the units inside each of the London Eye’s 32 pods. It was an arduous task that Routledge and his team met resourcefully. He explains, “Because the London Eye is a tourist attraction and is used every single day, we mounted the Excaliburs and a strobe unit on wheeled dollies and waited until the tourists cleared out each night, sometime around 7pm. The Eye would continue to turn and we wheeled a dolly into each pod. We loaded all 32 pods this way.” At the end of the night of programming, the procedure was reversed and the dollies unloaded. They repeated the process over three nights.

Despite the overhead protection, Routledge says the Excalibur’s waterproof rating was required because of the constant loading in and out in an outdoor environment. Additional Excaliburs lined the pier in front of the 135-meter tall wheel, working with other long-throw luminaires.

Message of love and unity
More than 100,000 ticket holders plus millions around the globe took in the show and its message of love and unity. Highlights included England’s UEFA Women’s Euro 2022 win, 50 years of London Pride, a message of support to Ukraine, a tribute to the late Queen Elizabeth II, and a segment honoring King Charles III. The Excaliburs were used throughout the 12-minute show, mostly in tight beam looks although Routledge says he did access the unit’s gobo wheels for the King Charles III segment.

The lighting was coordinated with the fireworks and drones in both white and multi-colored looks. In a show with an abundance of mesmerizing looks, Routledge says the dedication to Ukraine was especially powerful, “also because there was a pause in the fireworks at that point and the beams read really well.” He adds that the London Pride section was also a highlight as it gave him the chance to access the Excalibur’s full-spectrum color system to create “structured rainbow beams that really cut through.” Working for more than just the 12-minute show, the lights in the pods were used to build anticipation from 11pm and were active for 40 minutes after the show while the crowd dispersed.

Rock solid success
Reviews of London’s 2022 New Year’s Eve show have been universally positive and Routledge confirms the feedback, noting that the client was ‘blown away’ by the show. “A lot of people noticed the upgrade in how the show was lit and the change of fixtures in the Eye,” he said, adding that the Excaliburs and the wireless system of control, even at distances of 200-300 meters, worked really well. “The fixtures also held their positons beautifully despite being wheeled in and out of the pods every night. We really didn’t have to do much touching up position-wise.” The designer also reports that there were no issues with failed lights. “They were rock solid.”

Creative Director: Dan Colbourne and David Zolkwer
Lighting Designer: Tim Routledge
Lighting Programmers: James Scott/Morgan Evans/Adam Marshall
Lighting Rental: Neg Earth Lights
Production: Identity
Fireworks: Titanium Fireworks
Drones: Celestial

About Elation Professional
Based in California with facilities in Florida and Mexico City, as well as European offices in The Netherlands, Elation designs and manufactures a comprehensive range of innovative lighting products known for its superior performance, excellent efficiency, and outstanding price:value ratio, all backed by a hard-earned reputation for Total Support. Elation also offers an advanced line of lighting control products through Obsidian Control Systems, as well as a full range of dependable specialty effects called Magmatic. Our mission has always been simple: to provide best-in-class products and service while offering the best value:performance ratio in the industry. Elation products continue to be a part of the industry’s most exciting projects across the globe. We invite you to take a closer look at http://www.elationlighting.com

For more information, contact:

Elation Professional US
6122 S. Eastern Avenue
Los Angeles, CA 90040
USA
Tel: (866) 245-6726 (toll free)
Tel: (323) 582-3322
sales@elationlighting.com
http://www.elationlighting.com

Elation Professional EU
Junostraat 2.
6468 EW Kerkrade
The Netherlands
Tel: +31 (0)45 546 85 66
info@elationlighting.eu
http://www.elationlighting.eu

Elation Professional Mexico
Av Santa Ana 30,
Parque Industrial Lerma,
Lerma, Mexico 52000
Tel: +011 52 728 282 7070
ventas@elationlighting.com
http://www.elationlighting.com

I Return, different but the same

Well after COVID and one of the main venues I work at has been closed permanently, I fell in a sort of funk. Theatre went to the back, and I struggled with trying to get back into the stream of theatre life. COVID really cut my workload, but it started to slowly return when the news that the venue I was working at had been sold and the new landlords had renewed the lease. We still had several shows to do before we needed to give the venue over to the new landlords. The final show we embarked on was a sellout season. It did not hit home until the final set of bows on the last show that that was the end of an era. I therefore took a break to reassess where I was going to head. I had even considered leaving the industry completely. A few of my theatre friends talked into doing a few shows. So, I have picked a few cool theatre shows, including a musical. So, I am putting out feelers for other shows. I am probably going to be choosy about the shows I work on and the people I work with. At my time of life, it is not worth the stress of working with people that are difficult. I don’t mind if they are challenging, as that makes me more creative.

So, I am back if slightly different. Look for more blog posts and general technical theatre posts.

Eventec Acquires LSW

As of today June 09, 2022 Eventec has acquired LSW.

The LSW trading name and its brands and distribution rights has been acquired by Eventec.

They are currently in a transitioning phase and LSW enquiries will be assisted by the Eventec team.

Wharfedale, Soundking, Light Emotion, Sunlite, Daslight and the ESP Technology brands will be continued to be supported by Eventec.

They appreciate your patience and look forward to assisting you on-going.

For any clients with LSW dealings offered prior to 9th June 2022, please contact the Eventec team so that we can discuss with you how to proceed moving forward.

COVID effects

Well, it seems that with COVID being around so long, that theatre has turned to streaming of their productions. People sit in their homes in their pajama’s watching the latest production from their favourite theatre company. They can chat, drink, and eat without disturbing the rest of the audience. They can often pause the playback to have a pee. Now when we could not get out or there was a limit on audience sizes this was great. Although we are now returning to normal and theatre benefits from having a live audience, but audiences are slowly forgetting the manners needed to be in a live audience.
Streaming is not the same atmosphere for cast, crew, and the remote audience. I am not sure if we need to carry on with this way of seeing shows. Audiences are returning, they are wanting live events. It is time to wind back the live streaming instead of live audiences. We have audiences wanting to sit in the theatre and enjoy some good theatre.
But there has been a change in the way the audience act. On recent shows that I have worked on, I have observed that the audience conduct is quite different from before COVID. It is like the audience have lost their attention span. They cannot even be trusted to turn off their mobile phones, they talk to the people next to them during the show. Recently I have seen folks check their messages etc whilst the show is going. So, it looks like we will need to return to training the audience. It seems reminding them in the foyer and having notices in the foyer and the program does not work.
Here is hoping that audiences get back into the rhythm of enjoying live theatre without the electronic distractions that are part of our life.