Starlight Evaluation

Sound

In my dual role as Sound ASM, I had the opportunity to work as a wider team.

 

Good Points

 

In my role the new mic straps worked really well, the girls were able to have smaller ones so they could be worn snugly. Also everyone had an elastic mic strap who had a mic, this avoided mics just being worn on trousers or on the loose tie up straps. This was important as due to the increased physicality of the show the mic needed to be secured tightly to avoid damage. When the equipment arrived Sol and I tested each mic to see if they worked, every one of them worked and during the run not one of the packs were damaged, this was down to the strict rules we told the cast that only the sound team could undo the mics. We also discovered the “Madonna” mics were a lot easier to use, the increased grip on the mic allowed them to hold with little tape that can’t be sweated off or dislodged. After discovering that the mic pouch didn’t fit with the headsets I decided to divide up the mic table with tape and number each section to have clear and larger bays for the mic. My sub team of Rowan and I worked well together, after the tech rehearsals we both understood what mic changes were our responsibility, so at the start the complex/quick change between Control and Zoe was my job, whilst the large international train change to the hip hoppers we both did.

 

The new mic belts.

The 'Madonna'  mics.

The larger bays.

Improvements

 

To start with during the tech runs there weren’t enough mic straps, so I had to buy the fabric and make my own. This took me a few hours and ensured that every mic had one. At the get in we spent hours trying to find the hanging mics and the cables needed, if we were to do it again placing all the equipment in the same place during the get in would avoid loss of equipment. On top of this the sound team didn’t have sufficient training on the equipment, some of the team didn’t know how to use or turn off the mics, a larger amount of theory and physical training would be really useful in the future. During the techs I spent most of the time watching the mic racks to ensure the batteries weren’t running low as we only had 1 set of batteries for the whole 5 day tech run, next time it would be useful and important for a battery set for every act of the tech run, this also helps to avoid disruption on stage when they’re trying to perform. If the show had more budget ensuring Gina had a mic would help to improve her performance as she wouldn’t have to talk into someone else's mic. Also having defined roles would help to bring more focus to the group and lists or job descriptions may also help focus individuals too. The management of the team was executed very well, when ideas were suggested, such as making my own mic table, Corben encouraged and supported the ideas. However ensuring we all had enough training and himself having enough knowledge would have helped the get in as it would have been smoother so we had a better understanding and more structure.

 

I had to watch the rack to see if the batteries on the
mics were running low.

Marketing and Publicity

In my dual role as head of Marketing and Publicity, I had the opportunity to work in solo.

 

Good Points

 

Firstly the manipulation of the logo helped to create a basis to the branding and imagery used for the whole show. This logo was consequently used across all marketing material, information signs and tickets. This also helped to give an identity to the tent as all the information signs had the logo, as it was a blank canvas. As well as this my persistence of finding a high quality yet low cost magnet led me to the Spanish company; Camaloon, despite the ordering of the magnets happening 2 weeks before the show, they were manufactured and delivered to Ringwood within 5 days.  The photography for the programme I did myself, I attended a few rehearsals and shot the photos, I was then able to edit them and place them in the programme. By taking my own photos I was able to cut out the added time of using a separate photographer and having to worry about re shoots and if the photos were the style I wanted. When designing the programme there were no mishaps with the overall design. Once I had taken the photos and Mr Hawkins had given me the information the actual content of the programme needed little editing for the proof, it was mostly spelling and grammar given within the content. During the photoshoot of the cast it was useful to use the expertise of Ashley to use the proper studio equipment to make the photos look aesthetically pleasing. Part of my role was to ensure that front of house was set up and all the content was ordered. Part of this was to find cheap and effective decoration, for under £50 I managed to make 10 center pieces: which included a string of ‘Starlight’ fairy lights and a jar. These were simple and helped to dress the plain aluminum tables. Again by using simple decoration we were able to ‘personalise’ the space as it was a completely blank canvas.

 

Marketing with the logo.

Marketing with the logo.

The 'Starlight' lights.

The Camaloon Magnets.

Improvements

 

I had to work by myself in my role, however I struggled with this when I had to set up front of house: because we had to wait for the carpet to be put down on the Thursday night before show week, this was due to the cast walking through front of house during the rehearsals. This meant I only had the whole of Friday to set up all the signs, tables and center pieces. The little time given meant I had to find extra people to help me, Tom gave me some help during the day but for several lessons I was left by myself with the huge task. If we were to do the show again I would want a designated team to help me so I can give them specific tasks, on top of this I would like the carpet to be laid sooner so I’d at least have 2 days, this would leave me time to completely install front of house including the uplighters which I didn’t have time to do on the Friday. Due to hold ups by finance the key rings could not be ordered in time, this was partly to do with the Chinese New Year (by the time it came to ordering the key rings it was January) , every manufacturer had them made in China, as all the factories were closed for new year it meant they wouldn’t arrive by March! Because of this we couldn’t order any. If I was to order merchandise again I would buy it by the latest in November, this ensures no hold ups and delivery by January. However the key rings were going to be ordered early December, yet due to me only emailing the links to finance to be put on the system, when I actually followed up if it was on the system in early January I realised it hadn’t after repeated emails and it still wasn’t on there. I went up to finance myself and asked in person where they did it there and then. If I were to do this again I would ensure that I always go up to finance when companies for big orders (such as merchandise) , this will make sure it will arrive. Also the first proof of the programme was left too late and it was proofed so many times it moved the delivery time back, if I was to do this again I would make sure the proof was used for mistakes (like a mis-aligned word), not full page changes (I had to rearrange the cast page after the first proof).

There was lots to set up around the FOH area.

The keyrings that we wanted.