ON THEROAD:Priscilla
“I needed a system
that was capable of
being subtle in its
dialogue delivery
yet able to ramp up
to trouser-flapping
disco...”
sound designer
Michael Waters
proscenium fully exposed.”
For the main system hangs,
Waters chose L-Acoustics
elements, with delays and fills
handled by d&b Ci80s, E0s, E3s
and E8s, and EAW UB12s for
surround. System processing is by
Dolby Lake DLPs.
Such a vastly dynamic system
needed to be as ‘invisible’ as
physically possible, which meant
tucking the various elements of the
PA into nooks and crannies.
Waters commented: “It was
also challenging having the stalls
floor anti-raked to match the stage raking, in emergencies!” said Waters.
thereby reducing head height clearance of the “Headset/boom mics are a necessity on this
stalls dV-DOSC speakers. Of course, we have production as the headpiece/wig changes are
audience partition time, so this presented phenomenal — hairline lapel mics would be
itself!” obscured, ripped off or destroyed with all the
With no floor space available, Waters had to manic changes that occur.”
fly SB218s behind the centre cluster of four Arcs Other kit includes Stage Research SFX units
with an MTD-112P. Delay subs variously consis t that store the sound effects for instant cueing.
of d&b Q-Subs or E12s mounted on the rear The effects are routed to any or all of the PA
wall of each level. including two sets of bespoke reverse radio
Three dV-DOSCs with a dV-Sub per side/level systems mounted aboard the bus. One of these
make up the L-R system with the exception of also serves as foldback for the cast in some
the balcony which has four dV-DOSCs per side. scenes.
The system is powered by Crown Priscilla marks Waters’ theatrical sound
MA5002VZ amps (lows and subs), Lab.gruppen design début in the West End and he
fP6400s (dVs and Arcs), fP2400Qs (surrounds) has enjoyed working on the project with
and d&b D12s for the d&b elements. Autograph’s Scott Arnold, Duncan Bell and
Waters’ choice of FOH mixer was the Terry Jardine. “South of the Equator”, as he puts
Yamaha PM1D while a Yamaha M7CL provides it, he has worked with Australian production
band monitoring mix feeds to an Aviom system. giant Jands for nearly 25 years, but wouldn’t
“I’ve been using a PM5D in the Australian and hesitate to team up with Autograph again on
New Zealand theatres, but I needed more inputs future London shows.
and outputs for the Palace Theatre production, Also playing key production roles on
hence the choice of the 1D. Priscilla are musical director Richard Beadle,
“Despite encouragement to go with another musical supervisor and arranger Stephen ‘Spud’
console, Yamaha has always proven reliable for Murphy, production stage manager Jo Miles,
me over the years and as I use little outboard senior production rigger Simon Stone, wardrobe
gear for this show — given the very useful mistress Sandy Smith Wilson and, last but not
onboard effects and dynamics algorithms — I least, head of production Patrick Murphy and
can make the mix position footprint very small, production manager Matt Towell.
allowing the producers to sell more seats.” Plans are afoot for a North American
The combination of Sennheiser 5012/1046 production of Priscilla to open in Toronto and
radio systems with DPA 4066 mics has remained another in Germany in autumn 2009. A Swedish
Waters’ first choice for cast members for some production will follow in 2010.
time. “The three blokes are double miked with a TPi
4061 fitted to the 4066, as are the flying Divas Photography by Tristram Kenton,
as it’s a tad difficult to get a spare mic to them Tracey Schramm & Mark Cunningham
TPiMAY 09• 43
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