Technical Production Rider - Amazon Web Serviceshofesh-media.s3-eu-west-1.amazonaws.com/cms/2014/04/UprisingIn... · Technical production rider ... may prefer to use masking to achieve

Technical Production Rider

Uprising/In Your Rooms

For venues outside mainland Europe

correct as of 26th March 2014

HOFESH SHECHTER COMPANY

Uprising/In Your Rooms (non-mainland Europe) technical rider Updated 15/05/2014 Page 2 of 14

Uprising/In Your Rooms

Technical production rider

Please note: An excellent quality blackout and a high quantity of haze are essential to the running of this piece, please be in touch as soon as

possible if you have any concerns about light spill from the auditorium onto the stage or if you have only limited control over the venue air-

handling/conditioning during set up, rehearsal and performance.

1. Staging

The optimal performance area is 12m (w) x 12m (d) (includes upstage musicians platform), however ‘Uprising/In Your Rooms’ is adaptable for smaller spaces. NB: 12m x 14m represents the performance area required for the dance piece only, it does not take in to consideration additional space required for wings, and lighting booms, etc… You supply a sprung, or semi sprung, wooden floor with black vinyl dance floor (Harlequin, Marley or similar) covering the performance space and 2m into the wings on each side. The stage surface must be smooth, level and clean. You provide a crossover runaround for the dancers and stage management where possible at stage level within the performance space. The surrounding wings and upstage areas must be clean, with dancefloor laid or carpet laid, and clear of any flight cases etc. 1.2. Staging & set You provide a platform construction, which is positioned upstage left beyond the performance area measuring 3m high, 5m wide and by 3-4m deep. The platform requires handrails of at least 1 metre height on 3 sides, but not the downstage egde which is left open. Steps up to the top platform should be constructed from the stage left side into the wings. The entire platform construction and floor decks/stair treads must be entirely black so as not to be visible from the audience. The musicians must appear to be floating above the dancers. See an example platform (fig 1.6.) A black sharkstooth gauze is hung in front of the platform for ‘In Your Rooms’ when it is used and the structure should be blacked out completely below the platform level, although with technical access from the rear. For Uprising, there is no side or back masking whatsoever, therefore the surrounding wings and upstage areas must be clean and clear of all flightcases, ladders, unused equipment etc, as these will be seen by the audience.



1.3. Soft goods & masking You supply: 1 x FLAT black back drop, positioned upstage of the musicians platform 6 x FLAT black borders, weighted with conduit 6 pairs x FLAT (without fullness) black masking legs. (to mask the lighting booms and gauze) 1 x House border (where possible, black is preferred) 2 x Black sharkstooth gauze (minimum 14m wide x 9m drop) NB: These both need to fly during the

evening, one live in front of the audience. 1 x House curtain / tab, this is flown in at the start and end of the each piece, ideally this will be red (the

more theatrical its appearance the better) Each black masking leg and gauze must be in excellent condition. All masking and soft goods must be rigged exactly according to the technical plan, this includes the bar selection and measurements. 1.4. Uprising ‘Uprising’ is set on a bare open stage, no legs (masking), and no full black backdrop. Borders will not be moved, nor the position of the DS portal/proscenium, during the performance. We are happy to show the architecture of the building in its true form and reveal the space and walls as much as possible if they are black or dark in appearance. If the space beyond the performance area is not black, or for extremely wide stages (20m+), the company may prefer to use masking to achieve the optimum effect. 1.5. In Your Rooms ‘In Your Rooms’ is set in a traditional black box setting with typically 6 pairs of legs SR and SL, and with a full black back drop behind the band platform. 2x black full width and full height gauzes are required. One is set in place during the interval change before In Your Rooms, the other is preset downstage behind the house curtain, and flies out approximately after 12 minutes of In Your Rooms. The removal of the gauze needs to happen in approximately 6 seconds, preferably flying out into the fly tower, where impossible it can be managed as a swipe (on a track). Provision should be made to make both of the gauzes tight and smooth in appearance.

1.55 In Your Rooms stage look



1.6 In Your Rooms musicians platform



Both pieces will use a house tab/curtain at both the top of the show and at the interval. Control of the flown pieces should be at the side of stage and will be cued by the Stage Manager. 1.8. Blackout It is wholly ESSENTIAL a good blackout is achieved throughout the piece onstage AND in the auditorium. All exit signs, aisle lights, overhead lights and working lights etc in the house and on stage should be either reduced to the lowest safe level allowed, or switched off in order to facilitate this. You source any local authority permissions which must be sought, prior to the company’s arrival, to assist with this. Where a total blackout can be achieved during the performance, the company agrees to illuminating any exit or ‘running-man’ signs pre- and post-show and during the interval. The more completed to assist creating a good blackout prior to the company's arrival the better, it will save time on the get in. The production will not be performed without an excellent blackout. 1.9. Heating / working temperature You must maintain the performance space, dressing rooms and rehearsal studios at a minimum +21.5°C, at least 2 hours before the artists’ arrival to commence work. You must maintain relative air humidity at that temperature between 40-70% at all times.



2. Lighting A venue specific lighting plan will be supplied following full consultation with your technical team at least 3 weeks prior to the fitup and performances. Attached to this technical rider is a generic LX plan that typifies the requirements and rigging for lighting, staging, and masking requirements. NB. Please note that this list is not specific to your venue and will vary depending on both the size and technical facilities available at the venue itself. 2.1. Required equipment: All lanterns must have excellent optics, recently cleaned and maintained. The impact of the design will be hugely reduced and focus time significantly increased if poorly maintained and dirty units are supplied.

You supply: 10 x Boom stands (single pole on square base) 50 x Straight boom arms (Doughty 500mm derig arms with half-coupler or similar) 2 x MDG AtmosphereAPS H.O hazer High output including: fluid and minimum 2x 34kg CO2 canisters 1 x ETC Source Four 26° 750w with colour frames & shutters 31x ETC Source Four 36° 750w with colour frames & shutters 16 x ETC Source Four 50° 750w with colour frames & shutters 17 x Robert Juliat 310HF Fresnel 1kw with colour frames & barndoors 9 x Robert Juliat 329LF Fresnel 2kw with colour frames & barndoors 33 x PAR64 CP60 1kw 66 x PAR64 CP62 1kw (46x of these PAR64 are visible to the audience, so must be of the same

manufacturer and brand, with the same length of hook clamp etc) 14 x Strand Coda 1-cell assymetric flood 1kw with colour frame 1 x Symmetric flood 500w 3 x RAT Music stand with 40w dimmable lamp 6 x Any brand 1kw 25-50° profile with colour frames & shutters 5 x ‘B’ size glass gobo holder (for use with ETC Source Four substitutes, where agreed by the

technical manager) 1 x Iris for Source Four profile 2.2. Haze You supply 2x MDG atmosphere hazers to run for the duration of the focus, markups/rehearsals and performances. Please ensure that you have sufficient fluid and CO2 available for this. It is also essential that the venues fire alarm system can be adequately isolated for the stage, auditorium and surrounding areas, to allow for the amount of haze that is required by the production. If you have limited or no control over the air handling system(s) in the venue, and are unable to maintain a high even quantitiy of haze on stage, please raise these concerns with the Technical Production Manager as early as possible in the pre-production preparation. The production will not be performed without quality of haze acceptable to the company onstage and in the auditorium.



2.3. Control We tour a lighting control system (ETC Eos family & Net3), which is pre-programmed with all the cues & timecodes for the show and is triggered by MIDI show control. The primary desk will be positioned at the rear of the stalls(/orchestre) next to the sound desk for the duration of the fitup and performances. A second backup desk will be positioned onstage or in the auditorium for the duration of the fitup, and then beside the primary for the performances. This is networked to the primary via ethernet. You supply 2x 240v 50Hz with Uninterruptible Power Supply (UPS) and 13A or Schuko connector one located at FOH control position at the rear of the stalls, and one onstage for the duration of the fitup. You supply 2x DMX universes feed to your dimmers, in the form of male 5pin XLR connectord from our network to output to your dimmers at the FOH control position. This should not go through any other control consoles. (If you have any doubt as to the connectivity of this desk to your dimmers please let us know as soon as possible). 2.4. Pre-rig You should pre-rig the lighting; to hang, power, flash out, colour, and create a patch sheet/plan according to the company’s venue specific lighting plan. This must occur in advance of the company’s arrival for the first day of fit-up. Any costs incurred as a result of this should be met by the presenter. 2.5. Notes Lighting booms are on show to the audience, as a result they MUST be rigged according to the exact measurements, shown on the plan in both metric and imperial. These measurements are taken from the stage floor, and not the boom base or any other position. Both hazers will be run for the duration of set-up, focus, rehearsals and performances. Please ensure that you have sufficient CO2 and haze fluid available, including correct size of gas purge kit and regulators.



2.6. Generic lighting plan

65

69

LX 1

LX 2

LX 4

LX 3

LX 5

LX 6

LX 7

LX 8

LX 9

LX 10

LX 11

LX 12

LX 13

FLAT Full black

Black gauze

Legs 6 (14m opening) (flies during interval change)

Black border 6


Black border 5


Black border 4


Black border 3


Black border 2


Black border 1

Additional channels

44 - Lit music stands

50 - Par Bar

250 - Blues SR wing

251 - Blues SL wing

252 - Blues US C

rossover

300 - Houselights

301 - Tabwarm

ers302 - Secondary houselights etc.

400 - Haze SR

401 - Haze SL

999 - Worklight

Notes:

Groups

14 - Muso toplight

21 - US row

shafts22 - 2nd dow

n row23 - 3rd dow

n row24 - 4th dow

n row31 - R

ow 1 shafts

32 - Row

2 shafts33 - R

ow 3 shafts

34 - Row

4 shafts35 - R

ow 5 shafts

39 - Workers

40 - Houselights

1 - Shins2 - M

ids3 - Side pars IYR4 - Side pars U

prising5 - G

reen backlight6 - Blue backlight7 - U

prising blobs8 - Squares9 - Shafts10- M

usic stands11- W

all floods12 - Par bar13 - FO

H gobos

Trims

Ho

fes

h S

hech

ter C

om

pan

y

LF 1.1 The Leathermarket

11/13 Weston Street

Bermondsey, LO

NDON

ENGLAN

D SE1 3ER

+44 (0) 20 3 142 6823www.hofesh.co.uk

HO

FESH SH

ECH

TER C

OM

PAN

Y

'Up

risin

g/In

yo

ur ro

om

s'

Ge

ne

ric P

lan

, INTER

NA

TIO

NA

L

Up

da

ted

Fe

bru

ary

20

14

Pla

n to

sc

ale

1:5

0 @

A1

Lx 1 to 11& 14

@ 8m

Lx 12 & 13@ 9m

ALL PAR64 on Lx 10 m

ust be of exactly the same

brand and model. The C

P62 lamps, also, m

ust all be exactly the sam

e.

It is extremely im

portant that all rigging measurem

ents are strictly adhered to in order that the artistic integrity of the piece is m

aintained.

Ideal markup size for IYR

= 13m(w)x10m

(d)

Spacing between the LX bars 2, 4, 5, 7 & 9 (m

arked purple) m

ust be exactly equal.

If channel 89 is required to move [please see

focus notes] then its new position is -3.1m

SR.

Channels 1>8 (shins) have an interval colour

change from R132 only to L201 + R

132.

NB: TH

IS IS A GEN

ERIC PLAN

ONLY.

A venue specific plan will be draw

n by HSC

and sent to you at least 4 w

eeks prior to fit-up.

0m

L711

98

IYR

7

-1.5m

L165

95

IYR

6

-4.5m

L165

94

IYR

3

3.5m

L711

99

IYR

9

1.5m

L165

96

IYR

8

4.5m

L165

97

IYR

10

-3.5m

L711

97

IYR

4

60

-4.6m

L201

64IYR

60 0m

L201

101

Donut

IYR

60

1.1m

L201

102

Donut

IYR

60

2.2m

L201

103

Donut

IYR

60

3.3m

L201

104

Donut

IYR

60

4.4m

L201

105

Donut

IYR

60

L201

121

Donut

IYR

60

L201

122

Donut

IYR

60

L201

123

Donut

IYR

60

L201

124Donut

IYR

60

-2.1m

L201

125

Donut

IYR

60

-1.5m

L201

106

Donut

IYR

60

-0.4m

L201

107

Donut

IYR

60

0.7m

L201

108

Donut

IYR

60

1.8m

L201

109

Donut

IYR

60

2.9m

L201

110

Donut

IYR

60-3m

L201

111

Donut

IYR

60

-1.9m

L201

112

Donut

IYR

60

-0.8m

L201

113

Donut

IYR

60

0.3m

L201

114

Donut

IYR

601.4m

L201

115

Donut

IYR

60

-4.5m

L201

116

Donut

IYR

60

-3.4m

L201

117

Donut

IYR

60

-2.3m

L201

118

Donut

IYR

60

-1.2m

L201

119

Donut

IYR

60

-0.1m

L201

120

Donut

IYR

60

-4.6m

L201

IYR

60

-5.7m

L201

IYR

603.9m

L201

67IYR

60

1.5m

L201Donut

IYR

60

2.6m

L201Donut

IYR

60 4m

L201

66

Donut

IYR

601m

L201

120

Donut

IYR

36

-4.88mL201

75

R132

IYR

336

-1.63mL201

76

R132

IYR

436

1.63mL201

77

R132

IYR

636

4.88m

L201

78

R132

IYR

7

36

-4.88m

L201

79

R132

IYR

36

-1.63m

L201

80

R132

IYR

36

1.63m

L201

81

R132

IYR

36

4.88m

L201

82

R132

IYR

36

-4.88m

L20183

R132

IYR

36

-1.63m

L201

84

R132

IYR

36

1.63m

L201

85

R132

IYR

36

4.88m

L201

86

R132

IYR

50

2.95m

L201

46

IYR

50

1.45m

L201

45

IYR

50

4.45m

L201

47

IYR

50

L201

46

IYR

50

L201

45

IYR

50

6.5m

L013

49IYR

50

6.5m

L013

49IYR

50

-2m

L013

48IYR

50

-2m

L013

48IYR

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

6262

o/w

59

big

uprisingo/w

60

small

uprising

44

music stand

IYR

44

music stand

IYR

44

music stand

IYR

0.9m

o/w

56

uprising

-0.8m

o/w

53

uprising

-2.5m

o/w 55uprising-6m

o/w

54

duet

uprising

6.2mo/w

57

uprising

6m

o/w

58

uprising

36

-4.88m

L201

71

R132

IYR

436

-1.63m

L201

72

R132

IYR

636

1.63m

L201

73

R132

IYR

936

4.88m

L201

74

R132

IYR

11

50

1m

o/w

63

uprising

8

50

4m

o/w

63

uprising

10

50

7m

o/w

63

uprising

12

50

-1m

o/w

62 uprising

7

50

-4m

o/w

62 uprising

5

50

-7m

o/w

62 uprising

2

-6m o/w

52 uprising

3

36

0mo/w

89

IYR gobo

on 1.5m drop bar

IYR

1

36

4.5m

o/w

91

glass breakup

IYR

1

36

1.5m

o/w

91

glass breakup

IYR

2

36

-1.5m

o/w

91

glass breakup

IYR

3

36

-4.5m

o/w

91

glass breakup

IYR

4

26

o/w

88 IRIS

flaguprising

5

[FOH LX

]

0.2m0.8m

1.7m2.3m

3m

0.2m0.8m

1.7m2.3m

3m

FLOOR

0.2m0.8m

1.7m2.3m

3m

FLOOR

0.2m0.8m

1.7m2.3m

3m

FLOOR

0.2m0.8m

1.7m2.3m

3m

FLOOR FLOOR

FLOOR0.2m0.8m

1.7m2.3m

3m

FLOOR0.2m0.8m

1.7m2.3m

3m

FLOOR0.2m0.8m

1.7m2.3m

3m

FLOOR0.2m0.8m

1.7m2.3m

3m

FLOOR0.2m0.8m

1.7m2.3m

3m

STAGE

NB: if m

easuring the positions of sidelight in imperial (ft &

in), please use the following (m

easured from stage floor) 8", 32", 67", 90", 120"

Bottom of Booms

Top of Booms

Bottom of Booms

Top of Booms

Upstage

Dow

nstage

36

L201

1

R132

L241

11

IYR

62

L013

21

IYR

62

L013

21

IYR

62

o/w

31

uprising

36

L201

2

R132

L241

12

IYR

62

L013

22

IYR

62

L013

22

IYR

62

o/w

32

uprising

36

L201

3

R132

L241

13

IYR

62

L013

23

IYR

62

L013

23

IYR

62

o/w

33

uprising

36

L201

4

R132

L241

14

IYR

62

L013

24

IYR

62

L013

24

IYR

62

o/w

34

uprising

36

L201

5

R132

L241

15

IYR

62

L013

25

IYR

62

L013

25

IYR

62

o/w

35

uprising

36

L201

1 R132

L241

16

IYR

62

L013

26

IYR

62

L013

26

IYR

62

o/w

36

uprising

36

L201

7 R132

L241

17

IYR

62

L013

27

IYR

62

L013

27

IYR

62

o/w

37

uprising

36

L201

8 R132

L241

18

IYR

62

L013

28

IYR

62

L013

28

IYR

62

o/w

38

uprising

36

L201

9 R132

L241

19

IYR

62

L013

29

IYR

62

L013

29

IYR

62

o/w

39

uprising

36

L201

10

R132

L241

20

IYR

62

L013

30

IYR

62

L013

30

IYR

62

o/w

40

uprising

Instruments

Used

MDG Atm

osphere Hazer

2

60PAR

64 CP60

1kw33

500w Sym

metric

Flood 1

Source 4 26°HPL 750w

1

36Source 4 36°HPL 750w

31

WGeneric 1kw

profile

6

50Source 4 50°HPL 750w

16

Robert Juliat

329LF 2kw

Fresnel9

62PAR

64 CP62

1kw66

AccessoriesUsed

Legend

Glass gobo holder for

source 4 fixed degree

33

Distance from

Centreline

Colour

Channel

Frost

Gobo/IR

IS

Purpose

UsageUnit N

umber

PAR64 D

onut(HSC

toured)

5

Donut

IRIS for source four fixed degree

1

26

RAT m

usic stand (with 40w

light)3

Strand Coda 1

Assymetric Flood

1kw14

Robert Juliat

310HF 1kw

Fresnel

17

-8.5m

o/w

42uprising 1

-8.5m

o/w

42uprising 2

-8.5m

o/w

42uprising 1

-8.5m

o/w

42uprising 1

-8.5m

o/w

42uprising 1

-8.5m

o/w

43uprising

13

-8.5m

o/w

43uprising

8

-8.5m

o/w

43uprising

2

-8.5m

o/w

43uprising

11

-8.5m

o/w

43uprising

2

+6m

o/w

41

uprising

2

-2.4m

o/w41

uprising

5

3.7m

o/w

41

uprising

1

5.4m

o/w

41

uprising

2

o/w

87

floor circuit

IYR

W

-8.7m

L119

250

working blueIYR

1W

-8.7m

L119250

working blue

IYR

1

W

-8.7m

L119

251

working blue

IYR

9

W

-8.7m

L119

251working blue

IYR

2

LX 14

W

7m

L119

252

working blue

IYR

2

W-7m

L119

252

working blue

IYR

1

MDG HAZER

MDG HAZER

5050

50

L201

47

IYR

Black gauze (LIV

E FLIE

S DURING PERFO

RMANCE)



3. Sound NB: The mixing desk must be in the auditorium and preferably positioned in the centre and not under a balcony. It is NOT acceptable to have the mixing desk in a booth. You supply: 3.1. FOH system The FOH System should be configured from 6 outputs on the console: Main L, Main R, Mono Sub and Mono Front Fills. Main Left & Right You supply Line Array systems: D&B Q series, Meyer M’elodie. dVdosc, Nexo Geo, Martin W8L. As a guide, 9 boxes a side for a 1200 capacity hall. Point Source systems: D&B C4, Meyer MSL3 or 4, Nexo Alpha, Court Black Box, Turbosound Flash/Floodlight. Subs You supply Sub-Bass is a very important element to the show and true audio needs to be reproduced down to 25hz: D&B B2, Meyer 700HP, L’Acoustics SB28, Nexo CD18, Martin Wavefront. As a guide, 3 boxes per side. Front Fills You supply Meyer UPM1-P, D&B E3, L’Acoustic 8XT, Nexo PS8, Martin WTUB. 4 across the front is normally fine. 3.2 Monitors You supply 4 x full range speakers on 2 mixes (mix one downstage L&R, mix two upstage L&R). Meyer USM or MSL2, D&B MAX, Nexo PS15, Martin LE1500. 3.3. Microphones & stage-box system Company carries all microphones. You supply: 3 x Black boom arm mic stands Stage box positioned USL, with: 10x microphone sends 5 x return mix sends 3.5. Headphone system We tour an in-ear monitors system that takes 5x XLR sends from the stage-box positioned USL with the musicians platform. 3.6. Communications system All on the same channel, you supply: 6 x Wired Headsets - lighting, sound, fly floor, platform, Down stage left, Down stage right. 3 x Wireless headsets – Rehearsal director , Stage Manager, Assistant Stage Manager



4. Backline hires You supply

1x Double bass, ¾ to full size. With low action 1x stool for double bass player. 70cm high. 4x black chairs with no arms

1x 32” orchestral bass drum, with tilting stand 1x 18” tom drum, with legs 1x 22” bass drum (must stand on 10cm high wooden block), facing down 4x cymbal stands, with boom arms. (preferably low stands) 2x drum stools

4.2. Example backline Double bass Double bass stool Orchestral bass drum

Bass drum Tom drum Drum stool

Black chair Cymbal stand



5. Wardrobe 5.1. Wardrobe staff The venue should provide adequate wardrobe facilities and staff (of Wardrobe Mistress or Senior Dresser Level) for the washing and maintenance of the costumes. 5.2. Wardrobe requirements Please see attached washing instructions for the Costumes many of which are dyed and require proper care when washing. Please translate these instructions if needed. You supply (at minimum): Hand Washing Facilities 2 x Large Top Loading Washing Machines 2 x Large Tumble Dryers 4 x Costume Rails 1 x Iron 1 x Ironing Board 1 x Sewing Machine Washing Consumables: Non - Bio Colour liquid Handwash Colour Delicates liquid Febreeze, or similar 5.3. Dressers We do not require the use of any dressers during the performance, or at any other time.



6. Schedule & crew call You supply the crew call as agreed by the company specific for your venue, a generic call is found below: We will then require one full day get-in before the day of performance to complete the set-up (finalize the rig, focus and plotting). Sound checks, mark-up, and rehearsals will be held on the first performance day. A typical schedule is shown below. 6.1. Generic schedule NB. Please note that depending on performance times, it maybe necessary to work through breaks in order to complete the schedule. In this instance sufficient technical cover should be made available by the venue. 6.2. Schedule notes The above schedule is for a two-day set-up, and represents an ideal scenario for the set-up of this programme (including a performance on day two). However, for various reasons either the numbers of crew, length of the working day, or conditions of the theatre the specified schedule may not be possible to achieve. If this is the case a third day will be required to complete the installation of this show, or at the very least installation of the dance floor and initial rigging of the lighting and masking will be needed prior to the morning of day one.

Day 1 Description LX STG SND WDR 09:00-13:00 Mark-up. 6 4 0

Finalize Lighting Rig & Cable. Finalize Masking.

14:00-18:00 Complete LX rig. 6 4 1 Complete masking and stage set-up. Start focus. Set-up sound system. (if not fixed)

19:00-23:00 Complete focus. 6

Day 2 Description LX STG SND WDR 09:00-13:00 Complete technical work as required. 4 2 1 1 0900-12:30 LX plot. 12:30-14:00 Sound Check. 13:00-14:00 BREAK. Sound crew break later 1

14:00 Dancers onstage. 2 2 1 14:30 Mark-up onstage. 16:00 Tech-run ‘IYR’ 1 17:00 Interval change rehearsal. 17:30 Tech-run ‘Uprising’

18:00-19:00 BREAK. 19:00 Tech notes and Preset. 1 2 1 19:30 Open House. 20:00 Performance.



7. Working relations 7.1. Production management You provide one or more individual(s) (eg: Production Manager or Head of Stage / Lx etc) to be available to liaise with the Technical Manager in directing the crew for the installation, and that this person(s) remain available to the company for the duration of the fit-up. 7.2. Language / communication The company technical department’s mother tongue is English. If it is felt that a translator/interpreter is required; they should be provided to facilitate the process of the set-up where language may cause issue. 7.3. Show crew Crew provided for the performances must also be called for the technical rehearsals on the first performance day, and must be the same crew for the duration of all perfmances; thus providing continuity for the preformances.

8. Rehearsals 8.1. First performance day You provide access to a suitable dance studio or rehearsal room with sprung, or semi-sprung floor with suitable covering (ie: Harlequin or Marley) throughout the day of the first performance. This should ideally be within the same venue as the performance auditiorium. If this is not possible you must inform the company and the studio must be within 10 minutes walk of the venue. 8.2. Subsequent performance days You provide access to the stage from 14.00 for the purpose of dancer warmup, company class and rehearsal on all further performance days under suitable and adequate working light. The Technical Manager will arrange any further use of the stage in advance on a day-to-day basis, and with your agreement. 8.3. Rehearsal PA (sound system) The company tours a rehearsal PA, which will be used for all rehearsals company class. You provide an isolated, clean 13A power supply at the front of stage, or in the rehearsal studio to power this at all times. It may be requested by the company to use a mini-jack line in, from stage, to the main house sound system for rehearsals on stage. NB. The company must be informed at the earliest possible moment if the stage is not available for the prescribed times, so that alternate options can be discussed. The company reserves the right to request rehearsal space at other times.



9. General information

9.1. Dressing Rooms You provide the following dressing rooms, to be clean, hygenic, well-lit, located as close to the stage as possible and maintained to a minimum +21.5°C at all times: 3 x large dressing rooms (7 people each) with shower, toilet and wash basin facilities. 1 x Individual dressing room (Associate Artistic Director) These must be for the exclusive use of the company, and must be able to be secured. A detailed dressing room allocation and sign in sheet can be provided prior to the company’s arrival if required. 9.2. Artist Requirements You supply 40x 500ml bottles of still mineral water daily. You supply 13x clean bath towels daily. 9.3. Alcohol and drugs policy Hofesh Shechter Company has an extremely strict NO ALCOHOL policy during all work hours, and a minimum of 8 hours before commencing work. Hofesh Shechter Company has a ZERO TOLERANCE TO DRUG AND SUBSTANCE MISUSE. This policy must be adhered to by all staff working onstage for ‘Uprising/In Your Rooms’. 9.4. Production Office We require access to an office space for the technical team at all times throughout our stay. This should include wireless broadband access, a Mac compatible printer, and preferably show relay and should be located close to the stage and dressing rooms. 9.5. Press/Marketing disruption Any and all press and marketing interviews and/or calls must be pre-arranged with the company’s administration office in London, and where required the company’s press consultant. These must be scheduled into the company’s technical rehearsal times. 9.6. Pre-/Post-show talks Any and all pre- or post-show talks must be pre-arranged with the company’s administration office in London, and on tour must be liased through the Artists & Tour Manager and Company Stage Manager to ensure the smooth running of these events. 9.7. Technical transportation Depending on the international location of the venue, the exact nature of the techncial transportation may vary. It may consist of airline excess baggage, Fedex, or other freitage. The details and costs of this will be agreed between the presenter and the company in advance. 10. Front of House information

10.1. Running times ‘Uprising’ - 26mins (7 male dancers) Interval 20mins



‘In your rooms’ - 40mins (6 male, 6 female dancers + 5 musicians) Total running time: approx 1hour 26mins 10.2. Clearance FOH must check with the company before opening the house to the audience and must give clearance for the show to commence to the Company Stage Manager. The Company Stage Manager is solely responsible for starting the show, and will not do so until a complete blackout has been achieved, both on stage and in the auditorium, with all auditorium doors completely closed. 10.3. Latecomers’ policy We would prefer for the performance to go up 5 minutes after the scheduled start time so as to minmise the number of latecomers to the performance, to minimise disappointment and disruption. However, once Front of House clearance has been given to the Company Stage Manager and the performance has begun, latecomers must NOT be admitted to the auditorium until the signal is given by the Company Stage Manager at a specific point in the show (approximately 11 minutes into ‘Uprising’). At this point latecomers should be admitted in one group, to the rear of the auditorium. 10.4. Programme information ‘In Your Rooms’ features harmless smoke effects. 10.5. Merchandise The company does not tour any merchandise to sell at performances. However; there is some merchandise available via the company’s website. 11. Touring Personnel (28 persons) Artistic Director** Executive Director** Assistant to the Artistic & Executive Director** 12 Dancers (7 male 5 female) 5 Musicians Associate Artistic Director (Rehearsal director) Artists & Tour Manager Technical Manager Stage Manager Relighter Sound Engineer Assistant Stage Manager (Wardrobe) Physiotherapist NB: please refer to your specific Deal Memo for exact touring numbers. The number of technical crew may be required to change, depending on the demands of presenting the work in each venue, these will be agreed by the company in advance also. ** Attendance to be determined by the company dependant on the company schedule and other activities. 12. Additional charges You are required to inform the company at the earliest possible opportunity of any additional costs for equipment hires or overtime hours incurred by either the schedule or the technical details presented here, that exceeds any previous contractual agreement.



This technical rider contains the specific minimum requirements for a successful performance of the double bill evening ‘Uprising/In Your Rooms’ and forms a part of the contractual agreements between the presenting venue/presenter and the company. Please note that all final technical requirements are to be verified by the Hofesh Shechter Company Technical Manager in consultation with the presenting venue/presenter, and will vary from venue to venue.

Any variation to these agreements must be discussed with us and agreed, in full, at least four weeks prior to the company’s arrival.

Please do not hesitate to contact us should you need to discuss any of the above or if you can see any areas of concern to yourselves.

We look forward to working with you. Lawrie McLennan - Technical Manager +44 (0) 7866 849417 – [email protected]

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Technical Production Rider - Amazon Web Serviceshofesh-media.s3-eu-west-1.amazonaws.com/cms/2014/04/UprisingIn... · Technical production rider ... may prefer to use masking to achieve