Everybody McClintock Theater

November 2021

Directed by Denise Blasor

Sound Design by Alex Attalla

Lighting Design by Milner Summers

Projection Design by Jesus Hurtado

Set Design by Milner Summers

Everybody is a show about “the transience of life”, that is to say it is a show about death. The show begins with an usher, as part of the cast, addressing the audience and giving a brief run down of the emergency instruction. At the end of the instruction, Usher is possessed by god [pictured] who then has a monologue which dictates the further course of the show. God calls out to his henchman, Death, and tasks them with bringing them “Everybody” who is to give a run down of why “God’s experiment” has been such an absolute failure. God then leaves and Death is tasked with finding Everybody and bringing them to God for the presentation. The Usher then re-enters and proceeds with a lottery that dictates which member of the cast will be playing what role for that night’s show. The rest of the show deals with Everybody coming to terms with the fact that he is dying and trying to find someone (or something) to go on the journey with him, which he fails to do by the time Death returns. He is left with no choice but to deal with the disgraces in his actions during life and face the journey to God accompanied only by personifications of Love and Hate.

Signal Flow

Signal flow for the show, run on a QL1 Console. Sound effects were sourced from a couple of sources: pulled from Sound Q, a sound effects library; recorded live in a Voice Over studio with a Neumann TLM 102 microphone into ProTools and edited in ProTools to be exported to QLab, or taken from Field recordings. All sound effects were built and routed into the system through QLab.

Microphones

Hanging Mic Plot

Plot showing the path of the XLR cable path of a mic hung from the grid to be dropped down for God’s opening monologue.

This mic was also routed to a heavy reverb effect to add emphasis to God’s monologue

Microphone Plots used by the sound team to place the effects microphones used in the show.

Captured on camera, God using the Shure 55sh that had been hung from the rig and dropped down. We used a classic pulley system to allow for the mic to be dropped down when called for.

This was another moment the mics were used. A different, more prominent reverb effect was used here to add more depth and weight to the scene the actors created.

Speaker Plot

The speaker plot used for the show, shown here without lights

Speaker plot with lights [left] and without lights [right]

Cue Sheet

Cue sheet created for the stage manager. We had two kinds of cues, Console Cues and QLab Cues. The Board Op would hit the space bar in the computer for QLab cues and user defined keys that would take the console to a new scene on the QL1 for Console Cues.

For ease on the board operator who is not trained in sound, to turn the mics used in the show on and off, we made each mic input recallable and programmed scenes in which they were either on or off. The points that i wanted to turn the mics on or off were scripted as individual cues and given to the stage manager. The board op would step through the cues on the stage managers, “Go”.

Console File

Base Cue

Mic Test cue. The board op was instructed on how to cycle through each mic through headphones in order to check that each mic was working properly as part of their pre-show checklist

Routing for the ceiling mic cue

Scene list detailing orders and what each cue was meant to do

Details behind the effects

A text layout of the patching

Link To My Website

Created By

Alexis Attalla

Appreciate