My primary job on this show is as the house V1 (video engineer). But I am also doubling up as an A2, which has also kept me pretty busy working to fulfill the needs of Ian Smith the company’s Sound Designer. Mostly my A2 skills are being used just in case things go sideways! I will take care of everything in the orchestra pit, while my friend and coworker, John, the primary A2 for this show is handling things like getting lav mics on to the actors. He and Genna wired the microphones in the orchestra pit earlier. John doesn’t work as an A2 very often, and this is a big job for anyone.

As the V1 I am responsible for making sure that any video related needs of the visiting company are met. I’m working with Greg Mitchel, the company’s Projection Designer to do so. And there’s a lot! The company is doing some complex image mapping using a pair of different ultra wide lenses. Last week, in preparation for this opera I changed the lamps in our two 14K Christie Roadsters and discovered that one of the lamp driver boards went bad! So that threw a monkey wrench in things. The rental projector came late on the first day that the opera company was in the room and we had to take down our projectors again (We flew them after I changed the lamps for a show the evening before the opera showed up.) Then we rigged up the rental projector and hung both projectors back up with the company’s lenses, after testing. One of the lenses the opera rented had a bad motor. I had to disengage the focus motor, then zoom and focus to the approximate dimensions we needed. Then there were two 150 ft cables which we ran from the fourth floor balcony that went bad and had to be replaced for the supertitle projector.

Every day something new has been added to the gear in the orchestra pit, not unusual for a show that’s just being teched for the first time (being put together)- but a little annoying. We will move all the gear off the tech tables and relocate it a few hours before showtime on the day of the first performance. So there will be that to deal with. Hopefully all goes well. 

At least the show looks and sounds great! And the company’s technicians and cast have been really friendly and cooperative. Although the work has been hard and the days have been busy, I hope that they will return for another event.

I’m working seven really long days in a row, and everyday more hours get added for me to come in to work early, or leave late. That’s fine with me, I love making the overtime hours!

I also had to act as a medic one day when one of the actors, Vitor, a Brazilian ballet dancer, choreographer and actor scratched up his arm on stage. It was a pretty minor injury, and I fixed him up in no time. He’ll need a surgeon for the horns, though!

I’ve been writing this over a few days. We got the show up and running with only minutes to spare. Everything during the two show runs went great, and the show was a hit with the audience!

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People always ask how we know where all the set pieces go on the stage in the dark. Above you can see spike tape on the marley floor. Different colors and shapes tell us exactly where to place things. The tape stays on the floor, which travels with the road crew and is rolled out and taped down the the stage at each venue. 

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