MARISSA HILLIAR

(1)

SOUND DESIGN DOCUMENTATION BUNDLE

QUT ACTING – Good People Directed by Sean Mee

Queensland University of Technology Bachelor of Fine Arts | Technical Production

THIS DOCUMENT CONTAINS CONFIDENTIAL INFORMATION

IF FOUND, PLEASE CONTACT AND RETURN THIS DOCUMENT TO:

MARISSA HILLIAR

Sound Designer QUT Acting – Good People

Phone: 0434 396 821

Email: [email protected] Or return to:

QUT Kelvin Grove Creative Industries Precinct Z9, Level 2 – Student Services

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Table of Contents 2

Plans and Schematics 3

Set Plan V4 with dimensions 4

General Speaker Placement Plan 5

Good People Speaker Placement Plan 6

General Speaker Section Plan 7

Good People Speaker Section Plan 8

General Sound and Vision System Schematic 9

Sound Designer’s Documentation 10

Extracted Sound List. 11

Reactionary Sound List 24

Sound Cue Synopsis 26

APRA Clearance and Information 36

Bingo Caller’s Recording Script 37

Research and Design Justification 39

QLAB File 46

(3)

Plans and Schematics

Set Plan

Generated by Bethany Scott

General Speaker Placement Plan

Generated by Michael Trevisan

Good People Speaker Placement Plan

Generated by Marissa Hilliar

General Speaker Section Plan

Good People Speaker Placement Plan

General Sound and Vision Schematic

(4)

SL CL

6631

1680

1460 1746

1284 1409

2501 1626

Props Table

1397

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*Subject to Change*

Key Notes *Subject to Change*

Key Notes

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Sound Designer Marissa Hilliar

Drawn by

Michael Trevisan, Marissa Hilliar

Sound Design

Marissa Hilliar

Scale

1:50 @ A3

Version

V1.5 as of 19/05/2018 @ 0900hrs

Phone

1398

Notes

- The model of the monitor positioned in the Bio Box is a Presonus Eris E5 High Definition Near Field Studio Monitor.

BIO BOX

(9)

ONSTAGE

KEY ^NOTES Subject to Change Show

Name

Venue Drawn By Version

Season of Contemporary American Plays, 2018 Sound & Vision Schematic

V2

The Loft, Kelvin Grove

Mac Pro

(Qlab, DVS Installed) Mac Mini

(Qlab, DVS Installed)

Soundcraft SI Expressions 1

IN 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Cisco Network Switch

OUT 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

MOTU 16 A

IN

OUT 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Apollo 8p

OUT IN

1 2 3 4 5 6 7

Crown XLS 602 Amp #1

IN 1 2

OUT 1 2

Crown XLS 602 Amp #2

IN 1 2

OUT 1 2

Crown XLS 402 Amp #1

IN 1 2

OUT 1

JBL Control 30 Rear L

JBL Control 30 Rear R

JBL Control 30 FOH L

JBL Control 30 FOH R

JBL Subwoofer

Mackie SRM450 L

Mackie SRM450 R Venue Patching System

IN 1 2 3 4

OUT 1 2 3 4

Mackie SRM450 Spare Decklink Quad

1 PANASONIC PT-DS21K

OUT

1 2 3 4 5 6 7 8

SDI

ETHERNET

SM58

XLR TRS - XLR

CAT 5 Thunderbolt

Din21 - SDI

Microphone

Speaker

- DVS = Dante Virtual Soundcard

- Computer Monitors not included in schematic - Power Supply not included in schematic

- Comms system are not included

- For speaker placement visit speaker placement plan - Lens for projector is ET-DZ75LE10

- Presonus monitor will be in Control Room for Good People and moved onstage to USC for Spike

Archive Mac Mini (DVS, Pro Tools Installed)

IN

ETHERNET

NTG3 NTG3 NT4

Personus

Monitor

(10)

Sound Designer’s Documentation

Extracted Sound List

Reactionary Sound List

Sound Cue Synopsis

APRA Clearance and Information

Bingo Caller’s Recording Script

Research and Design Justification

(11)

Act Scene Page Sound Time and place Scene Description Theme/tone Dialogue

I

1

5 Door opening South Boston Massachusetts – an alley way behind a Dollar Store.

Tense conversation between MARGARET and STEVIE behind their workplace.

Tense, nervous, frustrated

The back door opens and Margaret, about fifty, comes out with Stevie…

18 Door slams shut Tense, nervous,

frustrated

MARGARET:. I don’t think she’d approve.

2

20 TV blaring from the next room

Rundown kitchen – MARGARET’S house.

Some bickering between DOTTIE and JEAN over MARGARET getting fired,

Down, frustrated

MARGARET: Okay, well, that’s who fired me.

20 TV volume lowers MARGARET: Turn it off,

Joycey!

21 TV blaring from the next room

JEAN: They blame the higher-ups.

22 TV volume lowers

MARGARET: Stop playing with those buttons. Joycey!

22 TV blares JEAN: Nothing.

Just…Russell.

22 TV lowers

MARGARET: Can you go in and turn that down for her, Dot?

24 TV blares again JEAN: You got that

right.

25 TV is silenced JEAN: She relies on

you.

(12)

I 4

74 Murmur of a crowd

Basement of a church

While playing bingo, DOTTIE, MARGARET and JEAN, with awkward/tense conversations with STEVIE and amongst themselves

Excited, nervous, awkward, tense.

Scene start.

74

Priest calling bingo numbers

(VOICEOVER)

“I-17. I… 17”

They are for sale.

74

(VOICEOVER)

“B-11.”

They play.

75

(VOICEOVER)

“B… 11.”

DOTTIE: They gave me shit cards.

76

(VOICEOVER)

“O-70. O-… 70.”

JEAN: It’s just a few cards.

76

(VOICEOVER)

“B-3. B… 3.”

DOTTIE: Or it won’t.

(13)

Act Scene Page Sound Time and place Scene Description

Theme/tone Dialogue

I 4

77

(VOICEOVER)

“G-48. G…48.”

DOTTIE: Joyce likes everybody, god love her.

78

(VOICEOVER)

“N-31.”

JEAN: Cookie was a fuckin’ wreck.

78

(VOICEOVER)

“N… 31.”

JEAN: Way before she lived on that wall even.

78

(VOICEOVER)

“O-74.”

MARGARET: They thought she was sleepin’.

78

(VOICEOVER)

“O… 74.”

MARGARET: That’s pretty sad.

79

(VOICEOVER)

“G-53.”

JEAN: You are?

(14)

I 4

79

(VOICEOVER)

“G-59.”

JEAN: Why are you so negative all the time?

79

(VOICEOVER)

“G… 59.”

DOTTIE: I’m not negative, I’m realistic.

80

(VOICEOVER)

“I-20.”

DOTTIE: And what if they don’t?

80

(VOICEOVER)

“I… 20.”

MARGARET: What.

81

(VOICEOVER)

“O-63.”

JEAN: … he has a long- lost daughter.

81

(VOICEOVER)

“O… 63”

JEAN: “…you remember that summer we dated?”

(15)

I 4

82

(VOICEOVER)

“I-16.”

JEAN: I’d walker her right up to the front door.

82

(VOICEOVER)

“I… 16.”

MARGARET: You would, too.

82

(VOICEOVER)

“G-51.”

MARGARET: You are too much.

83

(VOICEOVER)

“G… 51.”

JEAN: He’s calling all around you, Margie.

83

(VOICEOVER)

“B-13.”

DOTTIE: … those boys were actually his.

84

(VOICEOVER)

“B… 13.”

DOTTIE: Why he’d ever believe her is beyond me.

(16)

I 4

84

(VOICEOV"ER)

“N-41.”

DOTTIE: … and I was asked to leave.

84

(VOICEOVER)

“N… 41.”

JEAN: Well there ya go.

85

(VOICEOVER)

“G-55.”

JEAN: Yeah, those rabbits for example.

85 Voice of Old Lady:

“Bingo!” Previous SND.

85 Collective groan from

the crowd Previous SND.

85

Voice of Priest:

“That’s a good bingo!”

JEAN: … this nut her damn money.

87

Voice of Priest: “Next game: Inside Square.

No B’s, no O’s. And we’re starting with…

I-17. I... 17.”

DOTTIE: “Who threw that bird at me?!”

(17)

I 4

88

(VOICEOVER)

“G-46.”

STEVIE: No, because I don’t care.

88

(VOICEOVER)

“G… 46.”

JEAN: It is peculiar though.

89

(VOICEOVER)

“N-41. N… 41.”

JEAN: … that’s all that matters.

89

(VOICEOVER)

“G-58.”

MARGARET: Speak for yourself.

90

(VOICEOVER)

“G… 58.”

JEAN: He knows what I mean.

90

(VOICEOVER)

“I 21. I… 21.”

JEAN: … I don’t know what else to tell you.

(18)

I 4

91

(VOICEOVER)

“N-36. N… 36.”

JEAN: Gay guys.

92

(VOICEOVER)

“I-24. I… 24.”

(Silence as Dottie stares at him.)

93

(VOICEOVER)

“G-60. G… 60.”

MARGARET: Aren’t you glad you sat here, Stevie?

94

(VOICEOVER)

“N-32.”

STEVIE: Yeah, I know Russell Gillis.

94

(VOICEOVER)

“N… 32.”

JEAN: She’s been at that shop forever.

94

(VOICEOVER)

“G-52.”

DOTTIE: … I don’t know, some crazy story.

(19)

I 4

94

(VOICEOVER)

“G… 52.”

DOTTIE: … and so out she went.

95

(VOICEOVER)

“I-30.”

MARGARET: She’s got a following now.

95

(VOICEOVER)

“I… 30.”

DOTTIE: What following?

96

(VOICEOVER)

“I-28.”

DOTTIE: That’s not how it is.

96

(VOICEOVER)

“I… 28.”

JEAN: Jesus, Dottie.

97

(VOICEOVER)

“I-22.”

JEAN: Despite these assholes.

(20)

I 4

97

(VOICEOVER)

“I… 22.”

JEAN: You’ll be okay.

98

(VOICEOVER)

“N-45.”

MARGARET: Oh yeah, that’s exactly what’s going to happen.

98

(VOICEOVER)

“N… 45.”

JEAN: It could.

99

(VOICEOVER)

“G-47.”

JEAN: See what you did?

99 Cell phone rings Previous SND.

99

(VOICEOVER)

“G… 47.”

MARGARET: That’s my phone.

100

(VOICEOVER)

“G-56.”

DOTTIE: Oh, good.

(21)

I 4

100

(VOICEOVER)

“G… 56.”

MARGARET: … she’s throwing up like that.

100

(VOICEOVER)

“N-40. N… 40.”

MARGARET: Okay.

Bye.

101

(VOICEOVER)

“I-19. I… 19.”

MARGARET: I’m just telling you what he said.

103

(VOICEOVER)

“N-33.”

JEAN: It is rude.

II

1

109 Doorbell rings

Early morning, around 7am.

MARGARET shows up at MIKE and KATE’S, and trouble ensues.

Neutral – underlying tension

MIKE: I won’t wake her up.

150 Side doorbell rings KATE: I’m gonna get

some white.

189 Voice of Ally: “Dad?

… Daddy?” Scared, tense MARGARET: It’s

insured.

2 194 Crowd murmur Basement of a church MARGARET’S rent was paid – discussions how.

Focused sround them, but tense whispers between the characters.

Scene start

(22)

II 2

195

(VOICEOVER)

“First up is B-12.”

Basement of s church MARGARET’S rent was paid – discussions how.

DOTTIE: ... cause that money is ear marked.

196

(VOICEOVER)

“B… 12.”

JEAN: Just take it and forget it.

196

(VOICEOVER)

“N-33.”

DOTTIE: … there’s no room at the inn.

196

(VOICEOVER)

“N… 33.”

DOTTIE: I would’ve missed Joyce.

197

(VOICEOVER)

“I-22.”

MARGARET: It doesn’t matter, I’m not taking it.

197

(VOICEOVER)

“I… 22.”

DOTTIE: … gets all proud when she gets it.

(23)

II 2

198

(VOICEOVER)

“O-61.”

Basement of s church MARGARET’S rent was paid – discussions how.

DOTTIE: He already has.

198

(VOICEOVER)

“O… 61.”

JEAN: Maybe the wife did it.

200

(VOICEOVER)

“B-5. B… 5.”

Surprise, hope, determination.

MARGARET: Okay.

201

(VOICEOVER)

“G-51. G… 51.”

DOTTIE: It’s a logical question.

201

(VOICEOVER)

“N-43. N… 43.”

JEAN: Everybody knew.

201

(VOICEOVER)

“O-72. O… 72.”

DOTTIE: Well why would he do that?

202

(VOICEOVER)

“G-53. G… 53.”

MARGARET: I hope so.

(24)

Act Scene Page Reactionary Sound Dialogue Scene Description/Location Theme/tone

I

1 5-18

Atmos – South Boston, city, back alley.

Distant traffic, distant people and crowds, slight noises from the Dollar Store.

Scene start. South Boston – Massachusetts, in the alley

behind the Dollar Store. Tense, fast, dank.

2 19-39

Atmos – South Boston city, distant traffic and people. TV from Joyce’s room dully heard through the walls – quite muffled and unintelligible.

Scene start.

Margaret’s Kitchen in South Boston,

Massachusetts – most likely a small apartment in a rundown compound that habit the area.

Women discuss Margaret’s recent

unemployment and Mike’s return to Boston.

Tense.

3 40-73

Atmos – city in the distance. Muffled chatting of receptionists in the distance, computer keyboards, air conditioning.

Scene start.

Mike’s office – most likely inner-city Boston, as it is a specialist surgery. Margaret and Mikey reunite and Margie’s unemployment is brought up.

Excitement, underlying tension.

4

74-103 Atmos – chattering and murmurs of the other bingo patrons.

Scene start.

Basement of a church – makeshift bingo hall.

The women play bingo, discussing Margie’s continued unemployment and her invitation to Mike’s party.

Tense,

argumentative.

74-103

Bingo calls – from a cheap sound system. VOICE OF PRIEST is dull, disinterested – as though he has been doing it so long it has lost it’s

excitement.

(25)

Act Scene Page Reactionary Sound Dialogue Scene Description/Location Theme/tone

II

1 105-193

Atmos - early evening – East coast night time-bugs in the distance, coming alive as the scene progresses.

The soft lapping of water from the Chestnut Hill Reservoir in the distance.

Little city sounds – a slice of almost- country in Boston.

Scene start.

Mike and Kate’s house in Chestnut Hill – an upmarket village-style part of Boston. Their living room. Margaret shows up for the party, even after it has been cancelled. Margaret and Mike both cause chaos. Early evening.

Tense, angry.

2

194-202 Atmos – chattering and murmurs of the other bingo patrons.

Scene start.

Basement of a church – makeshift bingo hall.

They discuss Margaret’s visit to Mike and Kate’s, and the Margaret’s rent being mysteriously paid.

A little tense at the start, fades to relief and a sense of normalcy returns to the group.

194-202

Bingo calls – from a cheap sound system. VOICE OF PRIEST is dull, disinterested – as though he has been doing it so long it has lost it’s

excitement.

(26)

Cue

Number Source Act/Scene/Page Content Description Cue Point Output Fade

Time Notes

0.2 QLAB Preshow Pink Noise (2 minutes) Operator Checks All

Sound check track TBC Operator Checks All

0.5 QLAB Preshow Preshow Music SM prior to doors

Chicken Shack – Blue Vein Auto-continue FOH, Rear, Sub

Ray Bonneville – Cool Cool Rain Auto-continue FOH, Rear, Sub

Peter Green – Don’t Walk Away From Me Auto-continue FOH, Rear, Sub Traffic – Light Up or Leave Me Alone Auto-continue FOH, Rear, Sub Blind Faith – Can’t Find My Way Home Auto-continue FOH, Rear, Sub

restart Preshow Music Auto-continue n/a

1 QLAB 1/1/5 Intro into Scene 1 – fade out preshow SM cue – FOH Clearance 8s

1.1 QLAB 1/1/5 Oh Well (Intro Cut) – Peter Green SM cue FOH, Rear, Sub n/a

Song ends, first line immediately as it finishes

1/1/5 Act 1 Scene 1 Atmos Auto-follow Mackie L + R 4s 30s prewait

2 QLAB 1/1/18 Transition into Scene 2 Stevie: “All right…”

QLAB fade in Rattlesnake Shake Auto-follow FOH, Rear, Sub 6s

QLAB fade and stop Act 1 Scene 1 Atmos Auto-follow 25s

(27)

Cue

Time Notes

fade out Rattlesnake Shake Auto-follow 6s 28s prewait

Act 1 Scene 2 – Margie’s Apartment Auto-follow 2s prewait

TV 1 fades up Auto-follow Mackie L 4s

fade Act 1 Scene 2 Atmos in Auto-follow Mackie L + R 3s

fade and stop Rattlesnake Shake Auto-follow 8s

3 QLAB 1/2/20 TV 1 fades down Margaret: “Turn it down, Joycey!” 4s

3.3 QLAB 1/2/21 TV 2 fades up Jean: “They blame the higher-ups.” Mackie L 0.2s

3.4 QLAB 1/2/22 TV 2 fades down Margaret: “…those buttons, Joycey!” 4s

3.5 QLAB 1/2/22 TV 3 fades up Jean: “Nothing. Just… Russell.” Mackie L 0.2s

3.6 QLAB 1/2/22 TV 3 fades down Margaret: “…down for her, Dot?” 4s

3.7 QLAB 1/2/24 TV 4 fades up louder Jean: “You got that right.” Mackie L 0.2s

3.8 QLAB 1/2/24 TV 4 cuts out Dottie: “… at the end of the month.” 0.1s

4 QLAB 1/2/39 Transition into 3 Jean: “Ya never know.”

Peter Green – Oh Well FOH, Rear, Sub

fade and stop Act 1 Scene 2 Atmos 5s

4.5 QLAB 1/3/40 Act 1 Scene 3 – Mike’s Office SM cue

(28)

fade and stop Peter Green – Oh Well 15s

fade in Scene 3 Atmos Mackie L+ R 6s

5 QLAB 1/3/73 Transition into Scene 4 Margaret: “You’re in deep now,

Doctor.”

fade and stop Peter Green – Oh Well 10s 43s prewait

Act 1 Scene 4 – Bingo in Church Basement

fade in Act 1 Scene 4 Atmos Mackie L + R 5s 40s prewait

Bingo Calls – Act 1 Scene 3

5.5 QLAB 1/4/74 I-17. I… 17 SM cue Special 2

6 QLAB 1/4/74 B-11 SM cue Special 2

6.5 QLAB 1/4/75 B… 11 Dottie: “They gave me shit cards.” Special 2

7 QLAB 1/4/76 O-70. O… 70 Jean: “It’s just a few cards.” Special 2

8 QLAB 1/4/76 B-3. B… 3 Dottie: “Or it won’t.” Special 2

9 QLAB 1/4/77 G-48. G… 48 Dottie: “… god love her.” Special 2

10 QLAB 1/4/78 N-31 Jean: “Cookie was a fuckin’ wreck.” Special 2

10.5 QLAB 1/4/78 N… 31 Jean: “… on that wall even.” Special 2

(29)

Cue

Time Notes

11 QLAB 1/4/78 O-74

Margaret: “They thought she was

sleepin’.” Special 2

11.5 QLAB 1/4/78 O… 74 Margaret: “That’s pretty sad.” Special 2

12 QLAB 1/4/79 G-59 Jean: “…so negative all the time?” Special 2

12.5 QLAB 1/4/79 G… 59 Dottie: “I’m realistic.” Special 2

13 QLAB 1/4/80 I-20 Dottie: “And what if they don’t?” Special 2

13.5 QLAB 1/4/80 I… 20 Margaret: “What.” Special 2

14 QLAB 1/4/81 O-63 Jean: “… long lost daughter.” Special 2

14.5 QLAB 1/4/81 O… 63 Jean: “… summer we dated?” Special 2

15 QLAB 1/4/82 I-16 Jean: “… up to the front door.” Special 2

15.5 QLAB 1/4/82 I… 16 Margaret: “You would too.” Special 2

16 QLAB 1/4/82 G-51 Margaret: “You are too much.” Special 2

16.5 QLAB 1/4/83 G… 51 Jean: “… all around you, Margie.” Special 2

17 QLAB 1/4/83 B-13 Dottie: “… boys were actually his.” Special 2

17.5 QLAB 1/4/84 B… 13 Dottie: “… her is beyond me.” Special 2

18 QLAB 1/4/84 N-41 Dottie: “… and I was asked to leave.” Special 2

18.5 QLAB 1/4/84 N…. 41 Jean: “Well there ya go.” Special 2

(30)

Number Time

19 QLAB 1/4/85 G-55 Jean: “… rabbits for example.” Special 2

Old Lady: Bingo! Crowd: Awww! Auto-follow Rear R 2s prewait

fade Atmos Layer 1 up Auto-follow Mackie L + R 2s 4s prewait

Check that card, Helen Auto-follow Special 2 7s prewait

fade Atmos Layer 1 down Auto-follow 30s 10s prewait

19.3 QLAB 1/4/85 That’s a good bingo! Jean: “… but her damn money.” Special 2

20 QLAB 1/4/87 Next game… I-17. I… 17 Dottie: “Who threw that bird at me?” Special 2

21 QLAB 1/4/88 G-46 Stevie: “No, because I don’t care.” Special 2

21.5 QLAB 1/4/88 G… 46 Jean: “It is peculiar though.” Special 2

22 QLAB 1/4/89 N-41. N… 41 Jean: “… that’s all that matters.” Special 2

23 QLAB 1/4/89 G-58. Margaret: “Speak for yourself.” Special 2

23.5 QLAB 1/4/90 G… 58 Jean: “He knows what I mean.” Special 2

24 QLAB 1/4/90 I-21. I… 21 Jean: “… don’t know what else to tell

ya.” Special 2

25 QLAB 1/4/91 N-36. N… 36 Jean: “Gay guys.” Special 2

26 QLAB 1/4/92 I-24. I… 24 Stevie: “… for that sort of thing.” Special 2

27 QLAB 1/4/93 G-60. G… 60

Margaret: “… glad you sat here,

Stevie?” Special 2

(31)

Cue

Time Notes

28 QLAB 1/4/94 N-32 Stevie: “Yeah, I know Russell Gillis.” Special 2

28.5 QLAB 1/4/94 N… 32 Jean: “… at that shop forever.” Special 2

29 QLAB 1/4/94 G-52 Dottie: “… some crazy story.” Special 2

29.5 QLAB 1/4/94 G… 52 Dottie: “… out she went.” Special 2

30 QLAB 1/4/95 I-30 Margaret: “She’s got a following now.” Special 2

30.5 QLAB 1/4/95 I… 30 Dottie: “What following?” Special 2

31 QLAB 1/4/96 I-28 Dottie: “That’s not how it is.” Special 2

31.5 QLAB 1/4/96 I… 28 Jean: “Jesus, Dottie.” Special 2

32 QLAB 1/4/97 I-22 Jean: “Despite these assholes.” Special 2

32.5 QLAB 1/4/97 I… 22 Jean: “You’ll be okay.” Special 2

33 QLAB 1/4/98 N-45 Margaret: “… what’s gonna happen.” Special 2

33.5 QLAB 1/4/98 N… 45 Jean: “It could.” Special 2

33.6 QLAB 1/4/98 Church Bells

Margaret: “… occasionally pisses the

bed.” Mackie L + R

34 QLAB 1/4/99 G-47 Jean: “See what you did?” Special 2

Margie’s Phone Rings Auto-follow FOH R 3s prewait

34.2 QLAB 1/4/99 G…47 Margaret: “That’s my phone.” Special 2

(32)

Number Time

34.4 QLAB 1/4/99 VISQ – answers phone, stops VIS cue 0.1s

35 QLAB 1/4/100 G-56 Dottie: “Oh, good.” Special 2

35.5 QLAB 1/4/100 G… 56 Margaret: “… throwing up like that…” Special 2

36 QLAB 1/4/100 N-40. N… 40 Margaret: “Okay. Bye.” Special 2

37 QLAB 1/4/101 I-19. I… 19

Margaret: “I’m just telling you what he

said.” Special 2

38 QLAB 1/4/103 N-33 Margaret: “…wanna see that house.” Special 2

39 QLAB 1/4/103 Interval Jean: “Cocksucker!”

Fade and stop Act 1 Scene 4 Atmos 5s

Oh Well – Peter Green FOH, Rear, Sub

39.5 QLAB 1/4/103 Interval Music SM cue - With House Lights FOH, Rear, Sub 20s

Fade and stop Oh Well – Peter Green Auto-follow 25s 60s prewait

Tony Joe White – If I Ever Saw A Good Thing

Canned Heat – On the Road Again Chicken Shack – Poor Boy Humble Pie – Say No More

(33)

Cue

Time Notes

Mick Fleetwood – Don’t Be Sorry, Just Be Happy

Restart Interval Music

40 QLAB 2/1/105 Interval into Act 2 SM cue – FOH Clearance

Fade and stop Interval Music 12s

Green Manalishi – Peter Green Auto-continue FOH, Rear, Sub

41 QLAB 2/1/105 Act 2 Scene 1 – Mike and Kate’s House SM cue

fade and stop Green Manalishi – Peter

Green 12s

Fade in Act 2 Scene 1 Atmos 5s

42 QLAB 2/1/109 Doorbell rings (Front) Mike: “I won’t wake her up.” Rear R

42.1 QLAB 2/1/113 Spec – Light rail Kate: “… to me all the time.” Mackie L + R 3s

Fade Spec – Light rail in

Fade and stop Spec – Light rail 15s

42.2 QLAB 2/1/150 Doorbell rings (Side) Kate: “I’m gonna get some white.” Rear L

42.3 QLAB 2/1/150 Atmos Change – Kate’s Exit Mike: “She’s got a bit heart.” Mackie L + R 5s Atmos Layer 1+2 dips

42.4 QLAB 2/1/156 Atmos Change – Kate’s Re-entry Margaret: “… you made the right

choice.” Mackie L + R 40s Atmos Layer 1+2 rise

42.45 QLAB 2/1/182 Atmos Change – with new LX State Mike: “And I don’t believe you!” 2s

42.5 QLAB 2/1/189 V/O Ally: “Daddy?” Margaret: “It’s insured.” Rear L

43 QLAB 2/1/193 Transition into Scene 2 Mike exits.

Man of the World – Peter Green FOH, Rear, Sub

(34)

Number Time

44 QLAB 2/2/194 Act 2 Scene 2 – Bingo in Church Basement SM cue

Fade and stop Transition into Scene 2 10s

Fade in Act 2 Scene 2 Atmos Mackie L + R 5s

Bingo Calls – Act 2 Scene 2

45 QLAB 2/2/195 First up is B-12 Dottie: “… money is ear-marked.” Special 2

45.5 QLAB 2/2/196 B… 12 Jean: “Just take it and forget it.” Special 2

46 QLAB 2/2/196 N-33 Dottie: “… no room at the inn.” Special 2

46.5 QLAB 2/2/196 N… 33 Dottie: “I would’ve missed Joyce.” Special 2

47 QLAB 2/2/197 1-22 Margaret: “… I’m not taking it.” Special 2

47.5 QLAB 2/2/197 1… 22 Dottie: “… when she gets it.” Special 2

48 QLAB 2/2/198 O-61 Dottie: “He already has.” Special 2

48.5 QLAB 2/2/198 O… 61 Jean: “Maybe the wife sent it?” Special 2

49 QLAB 2/2/200 B-5. B… 5 Margaret: “Okay.” Special 2

50 QLAB 2/2/201 G-51. G… 51 Dottie: “What. It’s a logical question.” Special 2

51 QLAB 2/2/201 N-43. N… 43 Jean: “Everybody knew.” Special 2

52 QLAB 2/2/201 O-72. O… 72 Dottie: “… would he do that?” Special 2

(35)

Cue

Number Source Act/Scene/Page Content Description Cue Output Fade

Time Notes

53 QLAB 2/2/202 G-53. G… 53 Margaret: “I hope so.” Special 2

54 QLAB 2/2/202 Post Show SM cue.

Fade and stop Act 2 Scene 2 Atmos

54.5 QLAB 2/2/202 Fade and stop Peter Green – Oh Well SM cue - With Doors 10s

Post Show Music Auto-continue

Blind Faith – Had to Cry Today FOH, Rear, Sub

Cream - Sunshine of Your Love FOH, Rear, Sub

Peter Green – A Fool No More FOH, Rear, Sub

55 QLAB Fade and stop Post Show Music SM cue – FOH Clearance 8s

(36)

Composer Artist Title APRA ID Duration Publisher Cleared

GREEN, Peter Alan PETER GREEN SPLINTER

GROUP Green Manalishi GW01796191 25-30s Snapper Music Yes

GROUP Man of the World GW03292101 20-30s Snapper Music Yes

GROUP Oh Well GW03499606 54s, 30s x 3 Snapper Music Yes

GROUP Rattlesnake Shake GW02415845 45s Snapper Music Yes

(37)

Act 1 Sc 3 1-17. I… 17 B-11. B… 11 O-70. O… 70 B-3. B… 3 G-48. G… 48 N-31. N… 31 O-74. O… 74 G-59. G… 59 I-20. I… 20 O-63. O… 63 I-16. I…16.

G-51. G… 51 B-13. B… 13 N-41. N… 41

G-55.

Check that card, Helen.

That’s a good bingo.

Next game: inside square.

No B’s, no O’s and we’re starting with… I-17. I… 17.

G-46. G… 46 N-41. N… 41 G-58. G… 58.

I-21. I… 21 N-36. N… 36 I-24. I… 24.

G-60. G… 60.

N-32. N… 32.

G-52. G… 52.

I-30. I… 30

(38)

I-28. I… 28 I-22. I… 22 N-45. N… 45 G-47. G… 47 G-56. G… 56 N-40. N… 40 I-19. I… 19 N-33.

Act 2 Sc 2

First up is B-12.

B… 12

N-33. N… 33 I-22. I… 22 O-61. O… 61 B-5. B… 5

G-51. G… 51

N-43. N… 43

O-72. O… 72

G-53. G… 53

(39)

Playwright: David Lindsay-Abaire

Original Broadway Premiere: February 8, 2011 at the Samuel J. Friedman Theatre, NY

Setting: South Boston, Massachusetts

Number of Acts: 2

Genre: Comedy/Dark comedy

About the playwright:

• Lindsay-Abaire is a Pulitzer-prize winner, who is also a lyricist and screenwriter.

• His other notable works include Rabbit Hole, which he then adapted for the screen, and Shrek the Musical, which he penned the book and lyrics for.

• Lindsay-Abaire has Tony, Olivier, Grammy and New York Drama Critic’s Circle awards and nominations under his belt.

Dramatists Play Service, Inc. 2018.

https://www.dramatists.com/dps/bios.aspx?authorbio=David+Lindsay-Abaire

Play Synopsis:

“Life in Boston’s Southie neighborhood is no joke for single mother Margaret Walsh.

Fired from her job, facing eviction, she doesn’t know whether to risk it all on a game of bingo, or join a drunken old classmate on a warm bit of sidewalk. Will she catch a break from the cranky young manager at the Dollar Store or the landlady with a craft business selling googly-eyed rabbits? Or the man from her past, now a successful doctor, who left town at a crucial moment long ago? With wry humour and astonishing realism, Pulitzer Prize-winning playwright David Lindsay-Abaire creates both a loving portrait of his hometown and a widely relatable tale of socio-economic struggle. In the world of Good People, we see that very few can afford to be as good as they think they are,but acts of sacrifice and gestures of kindness come at the most surprising moments and from the most unexpected of sources.”

StageAgent.com. 2018. https://stageagent.com/shows/play/3874/good-people

(40)

Characters and QUT Cast:

Margaret played by CLEMENTINE ANDERSON

About age 50, Caucasian with a South Boston accent. She has a daughter, Joyce (not seen). She comes from a low-socioeconomic background and has bounced around from job to job during her life. The father of her child left before/soon after her birth.

Margaret struggles with the concept of “what if?” throughout the play, especially after she reunites with Mike and his wife.

Dottie played by MADELINE EXARHOS

Margaret’s landlady, older, in her 60’s. Also Caucasian, South Boston accent. She is quite quirky, selling her homemade rabbits. She is Joyce’s babysitter, and is known for being late. Jean blames her for Margaret’s dismissal at work. She is quite a busy- body.

Stevie played by DANIEL GABRIEL

Margaret’s boss at the Dollar Store. Plays bingo with the other women throughout the play. Arguably one of the only “good people” in the play. Lost his mother at some point, who the women knew. In his late 20’s, also South Boston accent.

Jean played by TATUM MOTTIN

Same as Margaret, around 50, Caucasian with a South Boston accent. One of Margaret’s closest and longest friends. Believes that Dottie does not have Margaret’s interest in mind or heart at all, causes tension between the two.

Kate played by SIANDA STRINGER

Mike’s wife. Younger, in her 30’s. African-American. Has a child with Mike, and it is evident throughout the play that they are enduring marital problems, boiling down to trust issues.

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Mike played by MICHAEL VANDERSANDE

Michael, or Mike in the script, is 50 years old, similar in age to Jean and Margie. Dated Margaret during the summer before he went off to college. He is medically trained, and now lives in Chestnut Hill, an upper-class area of Boston. He is experiencing marital problems to do with trust and it is evident in the script from his first interaction with Kate.

Location, time and setting:

The play is centred in the South Boston, Massachusetts and Chestnut Hill, where Mike and Kate’s palatial mansion is located. In the script, it states that there is a clear delineation between the “Southie” neighbourhood that Margaret, Jean, Dottie and Stevie live and Chestnut Hill.

Massachusetts is a state of the United States of America. South Boston is a derivative of the city of Boston and is located on the East Coast of the United States.

South Boston in relation to Boston Boston, MA, USA

(42)

South Boston:

• Densely populated

• Referred to as “Southie”

• Part of Suffolk County, Boston

• The St. Patrick’s Day Parade is set in South Boston each year, celebrating Irish-American culture in Boston and the migrants from Ireland due to the Great Famine

• Has a population of about 63,000, with the median age being 32, 72%

Caucasian

• Seaport redevelopment in recent years is encouraging younger, more financially-secure people to move to the South Boston area

• Was the home town of organised crime heard, James “Whitey” Bulger.

https://en.wikipedia.org/wiki/South_Boston

• “an urban neighbourhood with a strong sense of history and tradition”

• Largely working-class

• Gillette factory still employs locals

• Ironwork, glasswork and industrial areas prominent

• South Boston is becoming a desirable area to live across all social classes

https://www.boston.gov/neighborhood/south-boston

MARISSA HILLIAR

MARISSA HILLIAR

Plans and Schematics

Set Plan

General Speaker Placement Plan

Good People Speaker Placement Plan

General Speaker Section Plan

Good People Speaker Placement Plan

General Sound and Vision Schematic

ONSTAGE

KEY NOTES *Subject to Change* Show

Name

Venue Drawn By Version

Season of Contemporary American Plays, 2018 Sound & Vision Schematic

V2

The Loft, Kelvin Grove

Mac Pro

(Qlab, DVS Installed) Mac Mini

(Qlab, DVS Installed)

Soundcraft SI Expressions 1

Cisco Network Switch

MOTU 16 A

Apollo 8p

Crown XLS 602 Amp #1

Crown XLS 602 Amp #2

Crown XLS 402 Amp #1

JBL Control 30 Rear L

JBL Control 30 Rear R

JBL Control 30 FOH L

JBL Control 30 FOH R

JBL Subwoofer

Mackie SRM450 L

Mackie SRM450 R Venue Patching System

Mackie SRM450 Spare Decklink Quad

1

PANASONIC PT-DS21K

1 2 3 4 5 6 7 8

XLR TRS - XLR

CAT 5 Thunderbolt

Din21 - SDI

Microphone

Speaker

- DVS = Dante Virtual Soundcard

- Computer Monitors not included in schematic - Power Supply not included in schematic

- Comms system are not included

- For speaker placement visit speaker placement plan - Lens for projector is ET-DZ75LE10

- Presonus monitor will be in Control Room for Good People and moved onstage to USC for Spike

Archive Mac Mini (DVS, Pro Tools Installed)

NTG3 NTG3 NT4

Personus

Monitor

Sound Designer’s Documentation

Extracted Sound List

Reactionary Sound List

Sound Cue Synopsis

APRA Clearance and Information

Bingo Caller’s Recording Script

Research and Design Justification

Act 1 Sc 3 1-17. I… 17 B-11. B… 11 O-70. O… 70 B-3. B… 3 G-48. G… 48 N-31. N… 31 O-74. O… 74 G-59. G… 59 I-20. I… 20 O-63. O… 63 I-16. I…16.

G-51. G… 51 B-13. B… 13 N-41. N… 41

G-55.

Check that card, Helen.

That’s a good bingo.

Next game: inside square.

No B’s, no O’s and we’re starting with… I-17. I… 17.

G-46. G… 46 N-41. N… 41 G-58. G… 58.

I-21. I… 21 N-36. N… 36 I-24. I… 24.

G-60. G… 60.

N-32. N… 32.

G-52. G… 52.

I-30. I… 30

I-28. I… 28 I-22. I… 22 N-45. N… 45 G-47. G… 47 G-56. G… 56 N-40. N… 40 I-19. I… 19 N-33.

Act 2 Sc 2

First up is B-12.

B… 12

N-33. N… 33 I-22. I… 22 O-61. O… 61 B-5. B… 5

G-51. G… 51

N-43. N… 43

O-72. O… 72

G-53. G… 53

KEY ^NOTES Subject to Change Show