Directed by Laurel Devenie & Katy Maudlin, Production Manager Ash Holwell
Whangarei's old recycling centre on Pohe Island has been transformed into a storybook. Not just the tale of The Pied Piper, but also the nostalgic stories we all grow up with; the way we look at our town and our people. The mixed cast of kids and young adults have brought alive an old tale but also a venue you wouldn't normally look twice at, for this is an ex waste management facility.
Walking into the space the first time is always an interesting experience. A large, empty area full of potential (and bird deposits!), we had plenty of ideas of where things could go. There were I-beams to hang from, but with limited inventory and budget the decision was made to use 90deg scaff clamps and T-bars from the top of the seating block, making it easier for focusing lights and access during the show season.
The power was a single 16A 3 Phase outlet, which was replaced with a 32A 3 Phase outlet by a very generous local electrician. This was perfect for NYT's Theatrelight 12-Pack dimmer, which hosts thirteen 1kW Fresnels, seven 800w cyc floods and a lone 1kW Colortran 30deg zoomspot (bulb still works! Amazing!) controlled by a Theatrelight Nova 24 desk. I love these desks for this sort of work. Theatrelight will always be my first choice for desks for small shows and their dimmers are usually hard to fault. Proud to support NZ!
With a diverse range of scenes and limited gel selection, open-white works a treat for front-light and side-light while a 152 gel takes care of the city lights on the scenery.
For this show we are graced with the presence of young Stan Hallet-Pullen and Maeve Adair as lighting and sound operators. They both have caught theatre fever though seem rather relaxed at the helm.
Despite the small challenges this is a great show to start the year off and proud to say I'm from Whangarei.
Walking into the space the first time is always an interesting experience. A large, empty area full of potential (and bird deposits!), we had plenty of ideas of where things could go. There were I-beams to hang from, but with limited inventory and budget the decision was made to use 90deg scaff clamps and T-bars from the top of the seating block, making it easier for focusing lights and access during the show season.
The power was a single 16A 3 Phase outlet, which was replaced with a 32A 3 Phase outlet by a very generous local electrician. This was perfect for NYT's Theatrelight 12-Pack dimmer, which hosts thirteen 1kW Fresnels, seven 800w cyc floods and a lone 1kW Colortran 30deg zoomspot (bulb still works! Amazing!) controlled by a Theatrelight Nova 24 desk. I love these desks for this sort of work. Theatrelight will always be my first choice for desks for small shows and their dimmers are usually hard to fault. Proud to support NZ!
With a diverse range of scenes and limited gel selection, open-white works a treat for front-light and side-light while a 152 gel takes care of the city lights on the scenery.
For this show we are graced with the presence of young Stan Hallet-Pullen and Maeve Adair as lighting and sound operators. They both have caught theatre fever though seem rather relaxed at the helm.
Despite the small challenges this is a great show to start the year off and proud to say I'm from Whangarei.
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