Everybody
by Branden Jacobs-Jenkins
Directed by Orlando Pabotoy
by Branden Jacobs-Jenkins
Directed by Orlando Pabotoy
A modern adaptation of the 15th-century morality play Everyman. The story is kept largely the same with a few exceptions, Fellowship, Kindred, Goods, Discretion, Five Wits, and Knowledge are renamed Friendship, Kinship, Stuff, Mind, Five Senses, and Understanding respectively. Additionally the scene where Everyman must whip himself for Confession is changed to a scene where they are instructed by the drill seargant-esque character of Love to strip naked and scream "I have no control". Also instead of Good Deeds following Everyman/Everybody to the grave, in this play that role is filled by Love. The story is also interspersed with pre-recorded voiceover scenes done fully in the dark, depicting four of Everybody's friends comforting them at their deathbed and through a misunderstanding eventually turns into a discussion on racism.
This show largely made use of the rep speaker plot that was inside the theatre, but if with added elements such as boundary microphones to help add some light reinforcement for the actors. The main cast was also chosen by lottery at the beginning of every show, so to allow for this we had to record several different variations of voiceovers. Once the actor was chosen, the board operator simply had to hit a hotkey that activated various "Arm" and "disarm" cues within QLab that changed the voiceovers to whoever won the lottery.
The space was set in the traditional three-quarter thrust that is typical for that theatre. For coverage the system was primarily mono, with D&B E12s and T10s that helped cover most of the rows of seats. E6s were used as delays to help cover the back half of the house (the audience was raked up). Subwoofers were two D&B E15Xs that were placed in the grid both House Left and House Right to effectively provide low end for the audience. Rears were D&B E0s to allow for surround sound. We placed JBL Control 5s near the trap underneath the set in order to source spooky or sounds that the character Death made. We also had an IEM with a small powered speaker underneath an audience seat to source a cellphone ring for one gag at the top of the show.
Inputs were over 20 channels of QLab (which was our main playback software), two wireless RF microphones to help provide reinforcement for the child actors in the space, and a couple of boundary microphones to provide light general reinforcement for the space.
This show largely made use of the rep speaker plot that was inside the theatre, but if with added elements such as boundary microphones to help add some light reinforcement for the actors. The main cast was also chosen by lottery at the beginning of every show, so to allow for this we had to record several different variations of voiceovers. Once the actor was chosen, the board operator simply had to hit a hotkey that activated various "Arm" and "disarm" cues within QLab that changed the voiceovers to whoever won the lottery.
The space was set in the traditional three-quarter thrust that is typical for that theatre. For coverage the system was primarily mono, with D&B E12s and T10s that helped cover most of the rows of seats. E6s were used as delays to help cover the back half of the house (the audience was raked up). Subwoofers were two D&B E15Xs that were placed in the grid both House Left and House Right to effectively provide low end for the audience. Rears were D&B E0s to allow for surround sound. We placed JBL Control 5s near the trap underneath the set in order to source spooky or sounds that the character Death made. We also had an IEM with a small powered speaker underneath an audience seat to source a cellphone ring for one gag at the top of the show.
Inputs were over 20 channels of QLab (which was our main playback software), two wireless RF microphones to help provide reinforcement for the child actors in the space, and a couple of boundary microphones to provide light general reinforcement for the space.