Yew Tree continues to expand my mind.
by the brilliant Jodie Nicholson
This is my first blog so go easy guy's eh?
Sparkleshark and Karamazoo, where to start?....
I couldn't imagine a harder task than Sarah and Danny had on their hands directing two casts, and three for Karamazoo to boot. When I was asked to do sound I was like yeah sure!...whatever.. I'm there. I'd probably got a bit cocky after doing Conversations and Musicians, thought sound was a walk in the park....how wrong I was.
Sparkleshark was well established when I toddled in to press play, so it was really strange to walk into something that was fully formed. I had missed the process of it all ,and that to me is how I identify what needs what.
This actually did keep me up at night, I felt un-prepared because I did'nt know the play and I'd only seen it performed by both casts once. I scribbled down cues and hoped for the best. I needn't have worried. The depiction of the characters, the setting and the timing of the lines were spot on in both casts.
At the time of tech, two casts with different interpretations and timings felt like the biggest headache soundwise.The cues remained the same but each cast was completely different. For me, it was a huge learning curve. It reminded me that I'm not just pressing play when it say's to...Everyone is different. I realised that I need to watch peoples faces more carefully. I was really lucky that I kinda knew what maybe Alice/Jess ...STOP!!! face looked like.
All in all this experience has taught me to use cues as a guideline but you need to actually watch , look closer and feel the performance.
But you don't need me to tell you this...
Yew Tree,
You are always a pleasure to watch but you're even better to work with.
This is my first blog so go easy guy's eh?
Sparkleshark and Karamazoo, where to start?....
I couldn't imagine a harder task than Sarah and Danny had on their hands directing two casts, and three for Karamazoo to boot. When I was asked to do sound I was like yeah sure!...whatever.. I'm there. I'd probably got a bit cocky after doing Conversations and Musicians, thought sound was a walk in the park....how wrong I was.
Sparkleshark was well established when I toddled in to press play, so it was really strange to walk into something that was fully formed. I had missed the process of it all ,and that to me is how I identify what needs what.
This actually did keep me up at night, I felt un-prepared because I did'nt know the play and I'd only seen it performed by both casts once. I scribbled down cues and hoped for the best. I needn't have worried. The depiction of the characters, the setting and the timing of the lines were spot on in both casts.
At the time of tech, two casts with different interpretations and timings felt like the biggest headache soundwise.The cues remained the same but each cast was completely different. For me, it was a huge learning curve. It reminded me that I'm not just pressing play when it say's to...Everyone is different. I realised that I need to watch peoples faces more carefully. I was really lucky that I kinda knew what maybe Alice/Jess ...STOP!!! face looked like.
All in all this experience has taught me to use cues as a guideline but you need to actually watch , look closer and feel the performance.
But you don't need me to tell you this...
Yew Tree,
You are always a pleasure to watch but you're even better to work with.
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