schools festival information pack
DESCRIPTION
ÂTRANSCRIPT
Schools Festival
Information pack 2015
Contents
Who’s who 1
Performance/Reh schedule 2
Technical Information McCarthy 2 – 3
Sound / Lighting / Cue sheets 4 – 6
SJT Theatre regulations 7 – 10
How to find us 11
McCarthy Floor plan 12
McCarthy Section 13
McCarthy circuit layout 14
Who’s Who for the festival
Paul Stear
Technical Manager
01723 370 540
extn 272
Diana Logan
Schools Officer
01723 370 540
extn 297
Garry Leck
Production &
Technical Support
01723 356 696
Box office 01723 370541
Group bookings 01723 356635
Fax 01723 360506
E mail : [email protected]
www.sjt.uk.com
1
School Name Contact The Round Lower Male Lower Female Upper Male Upper Female Reh rm 1 Attending
Seamer & Irton 1030-1200
Pindar 1400-1530
Technical Rehearsal Day Monday 23rd Feb
Technical Rehearsal Day Tuesday 24th Feb
School Name Contact The Round Lower Male Lower Female Upper Male Upper Female Reh rm 1 Attending
Eskdale 1030-1200
Wheatcroft 1400-1530
Tech Day 1 Wednesday 25th Feb
School Name Contact The Round Lower Male Lower Female Upper Male Upper Female Reh rm 1 Attending
Whitby College 1400 - 1530
School Name Dress Reh Perf 1 1.30pm Lower Male Lower Female Upper Male Upper Female Reh rm 1 Attending
Wheatcroft 1030 -1115
Seamer & Irton 1115-1200
Seamer & Irton 1330 - 1350
Wheatcroft 1350- 1410
Performance Day 1 Thursday 27th Feb
Performance Day 2 Friday 28th Feb
School Name Dress Reh Perf 1
1.30pm Perf 2
7.30pm Lower Male
Lower Fe-male
Upper Male Upper Fe-
male Reh rm 1 Attending
Pindar 0930-1015 1330 - 1350 1930-1950
Whitby 1015-1100 1350-1410 1950-2010
Eskdale 1100-1145 1410-1430 2010-2130
2
National Connections 2014
Performance/Reh Schedule
We will be holding a tech day for both Directors and Technical team to visit the theatre and discuss
your requirements. Times and dates TBC. If you are unable to attend at this time please contact a
member of the SJT team as soon as possible to arrange an alternative visit. Start times will be
confirmed nearer the date.
Performance days
9 – 1 Group 1 Tech/Dress Reh
1 – 5 Group 2 Tech/Dress Reh
5 - 6 Dinner
7.00 Perf Group 2/ Perf Group 1
9.30 After show Party Followed by Get Out
Set, costume and equipment may be able to be drop of prior to your get in times, however, only with
prior consent from the theatre, please contact Garry Leck (01723 356 696) to check space and
availability. Collection/removal of equipment would happen ideally immediately after the final
performance. If this is not convenient please liaise with the theatre to make alternative arrangements.
*Please try and avoid arriving during meal breaks to access the theatre.
Technical Information: The McCarthy
Lighting
General cover splitting the stage into 6 areas (3 down stage, 3 upstage)
Lee 202 (Cool) from one side Lee 206 (warm) from the other
Back light also into those 6 areas Lee 085 (Deep Blue)
3 x Full stage Colour wash (Red, Blue, and Amber)
Full stage Gobo Wash (Linear Break up, O/W)
Full stage Gobo Wash (Leaf break up green/yellow)
2 Specials from FOH to be focussed by company
2 specials from Overhead to be focussed by company
Sound
3
4 x Speakers as PA (Upstage Left and Right and Downstage Left and Right)
1 x Spot effect speaker to be placed by Company
Playback is via Qlab on an Apple Mac so please provide any sound effects/ recorded music by
Monday 8th April on either CD or Flash drive also please include a Q sheet to allow us to pre program
for you. Can we also request that a finalised copy of the marked up script including all your cues is
also with us by that date. If you have any problems with this deadline please contact us at the
OutReach office
Performing Area:
Max 9.5m x 5.2m
Min 6.3m x 5.2.
Seating capacity: 165
Stage to Grid 5000mm (clearance under Cinema Screen Box - 3700mm).
Various Black masking - hard & soft
The McCarthy is situated at the top of the Stephen Joseph Theatre (4th/5th floor).
Basics: Width = 13.26m
Depth @ Centre Stage = 5.2m
Height for clearance under Cinema Screen box = 3.7m
The stage is fitted with a hard black proscenium which gives the ability to have two pros
openings, 9.5m or 6.3m. The size can be altered to suit your requirements with prior
arrangement with the Production department. We have a variety of black masking - hard and
soft.
The stage floor is raised throughout with rostra 360mm high.
Although we have 5 sets of hemp lines please be aware that the grid is only 5000mm above
stage level. Please check with us for the position of the hemp bars and to confirm availability
for your use.
Please be aware of the Cinema Screen Box and the structural metal truss that runs the width
of The McCarthy, both of which are marked on the plan.
The back wall of The McCarthy is painted matt black. This cannot be altered nor can
anything be attached/screwed to it.
Access
Access for set/props etc is by two ways depending on the size of the items.
a) Small (hand-held/flight case etc) = 8 person passenger lift
b) Medium (up to a max of H 3.7m x W 1.6m) from street level up stair-case to back of
auditorium 64 steps.
Dressing Rooms
We have 4 communal dressing rooms (2 x female, 2 x male) adjacent to the Green Room,
which is at the bottom of the building. Disabled access is via FOH passenger lift. There are 2
staff toilets at McCarthy level. They are situated adjacent to the auditorium, on the stage-left
side. Please confirm availability prior to your arrival.
7
Introduction The Theatre has responsibilities by law for the Health & Safety and well being of its staff, the public, and visitors to the
building. The Visiting Company should ensure that all relevant company members are fully aware of these rules.
General Regulations 1. It is strongly recommended that the Visiting Company create a production file that carries the following details of the
production:
2. Any licences required for the production.
3. Certificates of flame-retardancy.
4. PAT certificates
5. Risk assessments of any special effects
6. COSHH assessments of substances used in the Production
7. Insurance certificates for the Visiting Companies equipment, scenery, costumes, etc.
8. Details of any special effects
9. Details of any special power requirements.
Health & Safety 1. The Visiting Company must use the Theatre’s signing in and out book for the duration of the production.
2. The Theatre will make the Visiting Company aware of the Theatre’s Safety Rules and all legal and licensing
requirements for the building. It is the responsibility of the Visiting Company to inform all relevant members of your
Company of these rules. If you have any queries please contact the theatre as soon as possible before the date of
performance.
3. Children: All performances, or rehearsals with children on stage, or in the auditorium, must have an adequate
provision of chaperones to keep order at all times, take charge of the children in an emergency, and ensure their
welfare at all times. Children under 16 must be supervised at all times. There must be at least one chaperone with
every 10 children. This is the law. The licensing of Children as defined in The Children (Performances)
Amendment Regulations 2000 is the sole responsibility of the Visiting Company.
4. All accidents must be recorded in the Accident Book which is available on request. Failure to do so is a breach of
Health and Safety legislation and the Theatres code of practice.
5. First Aid boxes are situated in: The greenroom, the Runround, and at designated positions around the theatre. A First
Aider may be called via Reception – Dial 200 on internal phone.
General Rules 10. Smoking is strictly prohibited in all areas of the premises.
11. It is strictly forbidden to use or be in possession of any illegal substances whilst on the premises of the SJT.
12. Alcohol is strictly prohibited from all back-stage areas.
13. No combustibles or explosive materials or gas to be brought into the theatre.
14. Visitors may not go backstage without permission of the Production Manager.
15. All escape routes must be maintained clear and unobstructed at all times.
Scenery 16. All scenery, decorations, borders, drapery, gauzes, cloths, curtains and similar decorative hangings must be made of
material which is not readily flammable, or of material which has been rendered and is maintained flame-retarded.
17. The use of plastics must be avoided whenever possible. Decorative items such as statues made of expanded
polystyrene must be enclosed by a non-combustible skin of, for example, plastered scrim, Artex or Rosco Foamcoat, and
care taken that this skin is maintained undamaged.
18. Plywood and similar boards must be Class 1. It is recommended that any frames built for flats, or any other purpose,
should be made from 3inch x 1inch timber, which should also be class 1. If lighter materials are used for this purpose, the
theatre reserves the right not to allow the set pieces in question on to stage. As the Theatre has no safety curtain, this is
paramount. Certificates should be retained in the production file. Certificates of the flame retardancy of other materials
should also be retained in the production file.
8
19. The Theatre reserves the right to check and test where deemed necessary all scenery for compliance with the
appropriate fire standard. The Theatre will remove, or render flame-retarded at the Visiting Company's expense, any
items not conforming to the appropriate standard.
20. All scenery must be stable and not likely to collapse once erected other than as an intended effect. The Theatre may
refuse to allow the erection of any scenery that it considers unsafe unless a certificate issued by an appropriately qualified
person.
21. Whilst fastening fittings such as hinges or sheet materials to the stage floor by using screws is permitted no holes may
be cut in the floor without the prior consent of the Theatre. No other fixings may be made to other parts of the building
without the prior consent of the Theatre. Any redecoration of the stage or auditorium must be approved by the Theatre
who will normally require the previous decoration to be restored to its satisfaction at the end of the production. Any costs
relating to this work will be recharged to the Visiting Company.
22. The weight of individual items of scenery or other equipment exceeding 15kg must have their weight marked on them
if they are to be manually handled by the Theatre's staff.
23. Scenery must not be suspended other than from the grid. Ideally the weight of each separate item should be marked on
it. The visiting company should provide the point loading required for suspended scenery.
24. Any carpets and other textile floor coverings and under-lays must either not ignite or have the effects of ignition on
both upper and under surfaces. Appropriate certificates must be retained in the production file.
25. Where temporary floor surfaces such as sand, soil, turf, wood chippings, straw are to be used, certificates of treatment
against fire, biohazard, toxicity as relevant, together with any special operating procedures must be retained in the
production file. Dusty materials must not be used as floor coverings.
Props 26. Similar considerations of reducing the risk of fire apply to the use of properties and furnishings as to the use of
scenery. Where the action does not involve the use of naked flame or smoking lesser standards may be appropriate. As a
general rule hand held properties and antique furnishings will be approved without flame retardancy treatment. However
the Theatre will generally apply the same standards as apply to scenery to large properties, large quantities of furnishings
and to items especially constructed for the presentation. Appropriate certificates must be retained in the production file.
27. Items such as tablecloths, curtains and bedclothes must be flame retardant. Some flame retardancy treatments may
cause dermatitis or irritation to sensitive skins; it may therefore be permissible for sheets in contact with naked skin not to
be treated flame-retardant where hazards such as the use of real flame are not present.
28. The Theatre may require sight of the risk assessments for props and effects devices and, if deemed necessary, to see
them in use under performance conditions before they are used in performance. The use of any substances (liquid or
solid) or props with potential likely to permanently mark or damage in-house surfaces or to create substantial dust must
be approved by the Theatre and, if deemed necessary, be tested under performance conditions.
Costumes 29. Where real flame is in use it may be necessary for flimsy costumes to be fireproofed in which case some form of
recognised certification must be retained in the production file.
30. Quick-change arrangements must not affect the means of escape or access to fire fighting equipment.
Electrical equipment 31. If additional lighting or sound equipment is required, the Visiting Manager must arrange for it to be provided and
fixed at its own cost.
32. Any additional electrical equipment, including lighting and sound equipment, must carry an indication of a valid PAT
certificate. The PAT certificate, if not on the equipment, should be retained in the production file. A charge will be made
if testing of uncertified equipment is deemed necessary using either in-house equipment or staff. The Theatre reserves the
right to remove from the building any electrical appliance deemed to be unsafe.
9
33. Lighting equipment may only be rigged to approved suspension points. All lighting equipment must be provided with
secondary suspensions (safety bonds or safety chains.)
Special Effects 34. Special effects include any device or effect that was not included in the original risk assessment which, if not properly
controlled, may present a hazard. Examples include the use of smoke machines, fog generators, pyrotechnics and
fireworks, real flame, firearms, strobe lighting. The Theatre may have to obtain the consent of the Licensing Authority
before certain special effects may be used. All stage effects for a production should be set up and thoroughly tested as far
as reasonably practicable before the fit up at the Theatre. This testing should replicate performance levels and conditions
as far as possible. The Licensing Authority may require the proposed effect(s) to be demonstrated in performance
conditions before consent can be given and may refuse consent or make specific requirements. As much notice of any
proposed effects should be given to the Theatre as possible but in any case no less than twenty one days. Failure to
provide sufficient information may result in late or non acceptance of the effect even though such non-approval may have
a serious artistic implication. After an effect has been demonstrated and approved it must not be altered.
35. Only a responsible person who has received appropriate training may operate special effects.
36. Where warning notices are required they must be conspicuously displayed at all public entrances to the premises (or
auditorium, where appropriate) so that the public may read them before entering.
37. Any proposal to use excessively loud music or high-power audience lights must be discussed with the Theatre in
advance. Failure to obtain approval from the Theatre may result in modification of the desired effect.
38. Smoke machines & Fog generators Documentary evidence of the non-toxicity and non-flammability of the fog or
smoke must be retained in the production file.
39. Smoke machines and fog generators must be sited and controlled so that they do not obstruct exit routes nor cause a
hazard to surrounding curtains or fabrics.
40. The volume of smoke and/or fog must be limited so that it does not seriously affect means of escape or obscure
escape route signs. The penetration of smoke and/or fog into public areas must be restricted as far as is possible.
41. Warning notices must be displayed stating that fog or smoke is used as part of the effects.
42. Pyrotechnics including fireworks Specialist manufacturers supply pre-packed pyrotechnics, which enable strict
control of the quantities of components and the easy safe repetition of pyrotechnic effects. Pyrotechnics supplied
specifically for stage use must be used unless the entire effect including the operation is under the direct control of a
specialist contractor.
43. All pyrotechnics must be used strictly in accordance with the manufacturer's instructions.
44. An approved member of the Theatre’s staff must be present on stage whenever pyrotechnics are used. Additional fire
fighting equipment may be required.
45. Pyrotechnics must be confined to the stage area and not taken into public areas.
46. Pyrotechnics must be fired from an approved key-protected control/firing box (and never directly from the mains
electricity supply.) The key must be kept in the possession of the operator responsible for firing the devices. The
control/firing box must only be energised immediately before firing the pyrotechnic devices.
47. The operator must have a clear view of the pyrotechnic device and its immediate vicinity from the firing point. This
may be achieved by the use of an appropriate closed circuit television system.
48. The device must not be operated if there is any risk to anyone. In the event of a misfire the circuit must be switched
off until after the performance.
49. Maroons must only be used in suitable bomb tanks in safe locations. Warning notices must be displayed stating that
maroons operate as part of the effects on the premises.
50. Only sufficient pyrotechnic supplies for one performance may be withdrawn from the store. At the end of the
performance any unused pyrotechnics must be returned to store.
51. Real flame Whenever possible an electrical or mechanical effect should be substituted for the use of real flame.
52. Real flame must be kept clear of costumes, curtains and drapes. Real flame must not be taken into public areas.
53. The lighting and extinguishing of the flame must be supervised by an approved member of the Theatre’s staff who
must remain where there is a clear view of the flame and easy access to it until it is extinguished. Additional fire-fighting
equipment may be necessary.
54. Any candleholders and candelabra must be robustly constructed, not easily overturned and where practicable fixed in
position.
10
55. Hand-held flaming torches must incorporate fail-safe devices so that if a torch is dropped the flame is automatically
extinguished. Fail-safe devices must be tested prior to each performance.
56. Only solid fuel or paraffin may be used. The amount of fuel in torches must limited to the minimum necessary for the
effect.
57. Firearms. The Theatre’s Production Manager must approve all uses of Firearms in advance. Guns used on stage
should either be replicas or deactivated firearms; both types may be capable of firing blanks provided they are not readily
convertible to fire live ammunition.
58. Any gun or ammunition must be under the direct control of the person holding the appropriate firearms certificate.
Firearms and ammunition must not be left unattended by the responsible person. This does not preclude the use of the
firearm by the performer provided it is returned immediately after use to the responsible person.
59. All ammunition and firearms including deactivated, replica and imitation firearms must be stored in a robust locked
container in a room, which must be kept locked when not in use in a part of the premises to which the public do not have
access.
60. The storage arrangements must meet the requirements of the Licensing Authority, where applicable.
61. Firearms must not contain any article or substance that could act as a missile. Blank ammunition must have crimped
ends.
62. Firearms may only be removed from the store (together with the amount of ammunition necessary for the
performance) immediately prior to the performance and must be returned to the store as soon as possible after use. Any
unused ammunition must be returned to store. All discharged cartridges and percussion caps must also be accounted for at
the end of the performance.
63. There must be sufficient rehearsal to ensure that any flame and hot gases are discharged safely.
64. Firing mechanisms and barrels must be cleaned and checked before use.
65. No firearm may be pointed directly at any person or at any readily combustible material.
66. Warning notices must be displayed stating that gunfire occurs as part of the effects on the premises.
67. Weapons. If the production involves the use of weapons including firearms of any type, toy or replica, the Visiting
Manager must nominate an armourer, who will be responsible for the safe storage and maintenance of all weapons. The
Theatre may require to see the weapons in use under performance conditions and reserves the right to refuse use if it
deems them or the action unsafe.
68. Strobe lighting effects. Strobes must not be sited on escape routes, corridors or stairs or other changes of level.
69. Where strobe effects are used in public areas, the sources must be synchronised and locked off to operate at a fixed
frequency outside the band of 4 to 50 flashes per second. This rule may be relaxed for purely momentary effects on stage.
70. No sequence may be longer than 30 seconds.
71. Warning notices must be displayed stating that strobe lighting operates as part of the performance.
72. Storage of Special Effects & Firearms Special Effects and Firearms may only be kept in the Theatre's approved
store. This includes pyrotechnics, blank ammunition, flammable gases and liquids.
73. The storage receptacle must be kept locked shut at all times except when withdrawing material from store. The key
must be kept under the direct control of the person responsible for the safe storage.
74. Smoking and naked flame is prohibited in areas where any explosives or highly flammable substances are stored and
notices or signs must be displayed both in rooms and on containers to this effect.
75. Storage areas and containers must be indicated by the explosive or inflammable symbol as appropriate on the door or
lid.
76. All ammunition and firearms including deactivated, replica and imitation firearms must be stored in a robust locked
container in a room, which must be kept locked when not in use. The police will also require approval of the storage
arrangements for any firearms and ammunition.
77. When not in use all pyrotechnics must be stored in a metal container. The opening face of the storage receptacle must
carry the explosives symbol together with a sign reading Danger - No smoking - No naked flame in letters no less than
25mm high. Storage receptacles must be resealed and replaced in the main storage receptacle and the main storage
receptacle re-locked.
78. The minimum amount of any explosives or highly flammable substances may be withdrawn from store as is necessary
for the particular performance.
4
Sound Notation of Sound Cues (See Macbeth example below)
Sound cues should be written numerically e.g. SQ 1, SQ 2 etc.
Cues should be clearly listed with the lighting cues on a separate piece of paper – The Cue
List. (Blank sound cues are attached to you tech file )
Each sound cue also needs to be marked up where it appears in the script in your Book, along
with your lighting cues. PLEASE MARK ALL CUES IN PENCIL IN CASE WE NEED TO
MAKE CHANGES.
Don’t forget you need one cue to fade sound in and another cue to fade sound out.
All sound cues you write in the Cue List must correspond with the name of the track on the
track listing of your CD.
On the Cue List write:
• The cue number
• The name of the track
Microphones/amplification
If you wish to bring instruments that need amplifying you need to bring everything with you.
We will make sure there are 13amp plugs available. Please remember that everything will
have to be set up and removed within your Technical Rehearsal time, so keep it simple.
Percussion and instruments that can be held are most practical. Any electrical equipment
brought into the theatre must have a current PAT test (portable appliance test) this is a
standard test for electrical safety. Your school will probably have a facility for PAT testing. If
in doubt contact Garry Leck at the OutReach office on 01723 356 696.
Lighting
We advise that you do not over complicate the lighting in your show. Use it to frame the
story telling and follow through the emotional logic of your piece. The best advice is to
ensure that your actors can be seen. You should not need to rely upon technical effects
Look for clues in the text e.g. the majority of Hamlet is set in the Castle of Elsinore, the
majority of As You Like It is set in the forest of Arden, in The Merchant of Venice Lorenzo
and Jessica sit bathed in moonlight admiring the stars.
Notation of lighting cues
• See Macbeth example on Cue sheet attached
• Lighting cues should be written numerically e.g. LXQ1, LXQ2 etc.
• Cues should be clearly listed on a separate piece of paper, the Cue List (example attached.)
• Each cue needs to appear in writing in the appropriate place in the script in your Book.
(example attached)
• If the cue is a word in the script, highlight or underline the word, draw a line across to the
left margin and write the cue number there.
• If the cue is on a stage direction, clearly describe this in the script and note the cue as before
(e.g. when the cast are still on stage.)
• If you have edited your script, please make sure that the up to date version is used for your
Book. Similarly please inform the Technical Manager of any last minute text changes.
5
On the Cue List write:
• The cue number
• The Groups (one to 6 as illustrated on lighting plan)
• The percentage value of the state (100% = full)
•The feel of the scene e.g. Hot or Cold
• The fade / cross fade times
Cross fade guide times are as follows:
Snap - immediate
Fast - 2 seconds
Medium - 5 seconds
Slow -10 seconds
Example Book
Scene 1
A deserted place1. Thunder and
lightning.
LXQ1________________________
SQ1_________________________
LXQ2_____when the last witch enters
Three WITCHES
1ST
WITCH When shall we three meet again
In thunder, lightning, or in rain?
2ND
WITCH When the hurlyburly’s done,
When the battle’s lost and won.
3RD
WITCH That will be ere the set of sun.
1ST
WITCH Where the place?
2ND
WITCH Upon the heath.
3RD
WITCH There to meet with Macbeth
ALL Fair is foul, and foul is fair:
Hover through the fog and filthy air.
SQ2________________________ They vanish
LXQ3___________________________________
6
EXAMPLE CUE LIST
LXQ1 The stage will go completely dark over 5 seconds
LXQ2 There is a partial full stage wash with blue, stage right is brighter fading from black
out over 8 seconds
LXQ3 The stage right area will cross fade to the stage left area; the blue wash will remain
the same over 5 seconds
SQ1 CD Track 1 will run over the first 3 Scenes it will fade in with LXQ2
SQ2 CD Track 1 Volume is quieter fades down over 3 seconds with LXQ3
LXQ1 B/O Medium
LXQ2 8 @50% 6 @40% 2@70% Slow
LXQ3 4 @ 70% 8 @50% 6 @40% Medium
LXQ5 Flash Lights Fast
SQ1 CD Track 1 – Thunder rain soundtrack –
medium
Medium
SQ2 CD Track 1 – Thunder rain soundtrack –
quiet
Medium
11
How to Find Us The Stephen Joseph Theatre is situated in the centre of Scarborough. We are directly
opposite the train station, less than a 30 sec walk.
By train National Rail Travel Enquiries
08457 484950
By bus Arriva Buses (Whitby Route)
0870 6082608
East Yorkshire Buses (Filey Route)
01482 22 22 22
By road From London and the South
M1 then A64
From Edinburgh and the North
A1 then A171
From Liverpool and the West
M62 then A64
Parking and Transport Parking: Railway Station car park approx. 30 metres (closes at 11pm). Charged Parking
Disabled parking: Blue badge holders can park on Hanover Road which runs behind the theatre 20 metres
(approx.)
Bus stops are directly opposite the theatre.
There is a taxi rank directly opposite the theatre.
Wheelchair-friendly taxis: 01723 366366
Local Dial-A-Ride: 01723 354 434
(Evening service - Tuesdays and Thursdays).
Both Hanover Road and the Railway Station are very accessible places for being dropped off and being picked up.
Staff can wait with you, or meet you there (on request).
Other than Hanover Road the nearest disabled people parking bay is on Albermarle Crescent (approx. 100 metres into
the town centre).
If you do have any comments or require further information contact us on 01723 370540
PRODUCTION
DIRECTOR
VENUE
DESIGNER
LIGHTING DESIGNER
DATE SCALE
5 4 3 2 1 0 1 2 3 4 5
C/L
Cinema Screen +4110
LX 3
LX 2
LX 1
C/L
McCarthy
11.01.2010
P54
Circuit Layout
Floor level
High Level
Floor level
Fly Floor
P1 P2 P3
P4 P5 P6
P19 P21
P22 P24
P20
P23
Circuits restricted duringCinema Season
Dimmer Circuit
Patch Circuit
##
##
D9 D10 D11 D12
D13 D14 D15 D16 D17 D18 D19 D20 D21 D22 D23 D24
P45 P46 P47
P50P49P48
D41 D42 D43 D44 D45 D46 D47 D48
P53 P37 P38 P39 P40
D37 D38 D40
P33 P36P35P34
D36D35D34D33
P52P51P32P31
P27
P30P29
P26P25 P28
D32D28D27 D31D30D26D25 D29
D49 D50 D51 D52
D53 D54 D72D71D70D69D68D67D66D65D64D63D62D61
D1 D2 D3 D4 D5 D6 D7 D8
P7 P8 P9
P10 P11 P12
D55 D56 D57 D58 D59 D60 P41 P42 P43 P44
P13 P14 P15
P16 P17 P18
D39
PRODUCTION
DIRECTOR
VENUE
DESIGNER
LIGHTING DESIGNER
DATE SCALE
5 4 3 2 1 0 1 2 3 4 5
C/L
Cinema Screen +4110
Hemp 5
Hemp 4
Hemp 3Hemp 2 Cw Border)
Hemp 1
LX 3
LX 2
LX 1
DS Header
C/L
Mid Stage Border
McCarthy
18.03.2009 1:50 @A3
Control Room
Vert
ical
Trili
te
Boo
m
CinemaScreen
FOH
Adv
ance
Bar
LX 3
LX2
LX 1
Slid
er
Har
d M
aski
ng
Hou
se b
orde
rH
emp
1
Hem
p 2
(CW
Bor
der)
Hem
p 3
Hem
p 4
Hem
p 5
Speaker
0 1 2 3 4 5 6Scale in Metres
LOW
FoH
Bar
RSJ
roof
trus
s
Stephen Joseph Theatre
Venue: McCarthy
Cross Section
Drawn By: Paul Stear18 Feb 2009
Scale 1:50 @ A3