Lucy and Charlie's Honeymoon
Composed and Written by Matthew C. Yee
Directed by Amanda Dehnert
Composed and Written by Matthew C. Yee
Directed by Amanda Dehnert
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Lookingglass Theatre Company Water Tower Water Works May 24th - July 16th, 2023 Scenic Design: Yu Shibagaki Costume Design: Sully Ratke Lighting Designer: Marcella Barbeau Sound Design: Andre Pluess Audio Supervisor: Brandon Reed A1: Brandon Reed & Morgan Dudaryk A2: Emily Lynch & Jack Warner |
Photos taken courtesy of Liz Lauren
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Hooray! Lucy and Charlie just got hitched...and they're embracing the worst of the American dream. They do what they want. Take what they want. They're First Generation Asian American Renegades in love. And on the run. Featuring original country western and folk songs, Lucy and Charlie's Honeymoon tracks a young couple as they rev it down quintessentially American highways and across stereotypic borders, fleeing expectation and trawling up trouble along the way.
This was my final show as the Sound Supervisor for Lookingglass Theatre Company and man was it a great one to go out on. This production featured a large amount of RF management in the middle of downtown Chicago where it's typically an RF nightmare. We had over 9 channels of just actor wireless, then 4 channels of wireless handhelds, four channels of wireless instruments, and then finally our own wireless clear com. All of this was managed using Shure Wireless Workbench backstage through our A2 every night. Actor's played their own instruments and often swapped out who was on what instrument each song. This made it difficult to set proper gain control since each player used the same instrument differently. We set each instrument's gain to be as healthy as we could without ever peaking, and then within the console scenes, we adjusted levels of the instruments per song depending on who was using that instrument.
For the music and mix of the show, the playwright, sound designer, and director wanted to embrace the rock concert approach and have it be big when we want, but also be able to be intimate when we have to be. In order to get the vocals above the loud music, we ended up making use of the wireless handhelds because of their pickup pattern allowing them to reject a lot of extra noise on stage. This allowed us to get the vocals above the music, which a traditional lav microphone would not have been able to do. We still used lav mics for scene work as well as quieter musical moments where we did not have to be above a rock band. The role of A1 was split between myself as well as my cover Morgan Dudaryk, who also served as my assistant during the tech process.
This was my final show as the Sound Supervisor for Lookingglass Theatre Company and man was it a great one to go out on. This production featured a large amount of RF management in the middle of downtown Chicago where it's typically an RF nightmare. We had over 9 channels of just actor wireless, then 4 channels of wireless handhelds, four channels of wireless instruments, and then finally our own wireless clear com. All of this was managed using Shure Wireless Workbench backstage through our A2 every night. Actor's played their own instruments and often swapped out who was on what instrument each song. This made it difficult to set proper gain control since each player used the same instrument differently. We set each instrument's gain to be as healthy as we could without ever peaking, and then within the console scenes, we adjusted levels of the instruments per song depending on who was using that instrument.
For the music and mix of the show, the playwright, sound designer, and director wanted to embrace the rock concert approach and have it be big when we want, but also be able to be intimate when we have to be. In order to get the vocals above the loud music, we ended up making use of the wireless handhelds because of their pickup pattern allowing them to reject a lot of extra noise on stage. This allowed us to get the vocals above the music, which a traditional lav microphone would not have been able to do. We still used lav mics for scene work as well as quieter musical moments where we did not have to be above a rock band. The role of A1 was split between myself as well as my cover Morgan Dudaryk, who also served as my assistant during the tech process.