Act, regardless of which country we are in, is to get the balance between the vocals and the band correct – a particularly difficult task when you consider that the show is rather loud in places and the cast all wear omnidirectional microphones on their foreheads! “This is made harder by the
FRANCE Nun so challenging
Guillaume Schouker reports from the Parisian set of Sister Act, where FOH Bertrand Billon has found some useful working habits
BASED ON the hit 1992 film comedy of the same name, Sister Act the musical was written by Cherie and Bill Steinkellner, with lyrics by Glenn Slater and music by Alan Menken. The 2009 West End production was produced by Stage Entertainment, Whoopi Goldberg and Michael Reno for Sis Acts LLC. Goldberg was also a producer of the 2011 Broadway adaptation and co-producer with Stage Entertainment of the 2012 French adaptation, which has
A Digidesign/Avid VENUE sits FOH
been showing at the 1,600-seat Théâtre de Mogador in Paris since September last year. Bertrand Billon, head of sound and radio technology, says: “Most of the sound system for this production is provided by Orbital Sound in London, plus additional equipment by France’s Dushow.” With sound design by Tony
Award-nominated Gareth Owen, the French version of Sister Act is identical to the UK show as far as the audio equipment list is concerned. “The mixing system, front-of-house and monitoring are exactly the same,” remarks Billon, “as well as the sound reinforcement system. Of course the EQ set-up and sound diffusion system are adapted to each theatre.” Owen reveals: “I guess the biggest challenge with Sister
fact that we do the show in many different languages, many of which I don’t speak naturally. This means that, although I might know that I can hear the vocals, I’m not always sure that the audience can understand them, as I don’t speak the language fluently myself. Local experience and advice is essential here and we would be lost without it!” In the FOH position, an Avid Digidesign VENUE console with 96 inputs is handled by engineer Nicolas Lemperier. There’s one DigiRack stagebox for the cast microphones and a second one for the live musicians located in the orchestra pit. “This console offers all the essential characteristics – audio quality, powerful processing and reliability – which are critical when we give seven performances or more per week for one year,” says Billon, The main line arrays in a L/R configuration consist of two clusters, each with 14 d&b audiotechnik T10 mid-his, a B2 sub and three Q-subs for the front stalls and dress circle; then two more clusters with six d&b T10 plus one Q-sub for the upper circle. The central cluster is made up of two distinct systems that include three d&b T10. Frontfills are d&b E3, plus several extra in the hall. On stage are arranged three lines of Q7 sides and one E3 frontfill. The delay and