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Feature
“We will soon be at
the point where we
start integrating with
each other and fighting
for space on the grid.”
—John Nobori
Brian White with a medium-sized puppet
actors using brown paper bag rehearsal puppets, Stamets
and set designer Katie Polebaum huddle over a scale
model of the set. Mock-up puppets ranging in size from
tiny dogs to larger than life characters are in a constant
state of modification. The tools of choice are the Apple
MacBooks and rolls of gaffers tape.
In the control room of the Bootleg Theatre the talk is
of show control and MIDI interfaces. QLab Show Control
software is at the heart of this complex show. Sound
Designer John Nobori and Lighting Designer Haylee
Freeman create complex cue stacks for projection, lighting
and audio on a newly acquired Mac.
A month before opening night Nobori is
experimenting with “point sourcing” placing
of microphones within and near the
larger puppets. For a church scene he is
trying floor mics fed through the reverb on
the Yamaha DM1000 console to create the
feeling of a cathedral. For other effects he
will use Pro Tools. He jokes, “We will soon
be at the point where we start integrating
with each other and fighting for space on
the grid.” Freeman still favors traditional
consoles like the ETC Insight over software based laptop
devices. However, the cues she creates will be triggered
by QLab’s MIDI generator.
Brian White has created video effects for previous
Rogue shows and, drawing from his background as
an illustrator, is also credited with puppet design. He
explains, ”The video content is created in Adobe After
Effects with a little bit of Flash, and for this show we use
some stop motion animation. We are overlaying video
over video for the first time. We have created an animated
clock face and a number of environmental effects.”
White worked with veteran puppet
builder Elizabeth Luce to create
puppets that are durable, lightweight
and visually stunning. From
analog sketches the puppet team,
which included Wes Crain and Lena
Garcia, crafted the arcane Gogol
characters from foam, thin wood
and paper mache.
“It was very, very labor intensive
and time-consuming, but I am very
happy with the results” says White.
“The tricky part is making them
actor friendly” adds Crain. “There is
a lot of onsite adjustment.”
Musical Director Ego Plum (born
Ernesto Guerrero) created musical
themes and songs for the piece.
His non-conformist approach and
broad musical influences from jazz,
through New Wave to the Beatles
has made him the perfect rogue collaborator—which
is good, because
Cawelti is always thinking about the
future.
32 October 2009 • www.stage-directions.com