Large format projection specialists E\T\C supplied two of the new PIGI 2.5K projectors with double scrollers for rear projection, and a PIGI 6K with a single scroller for front projection at Trinity College of Music’s end of year production, “The Saint of Bleeker Street” staged at the Peacock Theatre.
The challenges of this highly provocative piece of visual theatre included having to rear project with a depth of only 5.7 metres between back wall and a 10 metre wide screen. The space was further reduced by the scene dock walls encroaching on the space, necessitating that the projectors were at steep 45 degree angles to avoid clipping.
Designer David Collis first came up with projection as a conceptual vehicle and a highly practical, effective and dramatic tool for scene and location changing for this rendition of Menotti’s 1954 opera, set amidst the squalid tenements of New York’s Little Italy.
Director Richard Williams then asked projection and lighting designer Arnim Friess onboard to co-ordinate the ‘visual’ department and help produce the artwork. Friess originally trained as a photographer and graphic designer in Germany before coming to the UK to studying scenography and theatre design. His work has always fused the two disciplines of lighting design and projection.
Collis has not used projection for some time, but opted for the method after his first venue reccie when he discovered they had a rear projection screen and a front gauze in house. It was the obvious scene-setting answer to him, in addition to the reasonably tight budget and the fact that Friess also specialises in this area.
However, due to the miniscule amount of upstage space, they were not then sure if any of it would be possible.
Production manager Leigh Porter approached E\T\C’s Paul Highfield to ask if they could help find a solution. Porter states, they specified the projectors, lenses and rigging techniques. “We needed a flexible system” says Porter “and E\T\C came in at a sensible price, complete with all the final artwork production and keystone correcting, etc. It made sense to get everything from one source.”
Collis compiled the original artwork from his huge photo archive. All images – apart from a single colour one – were distressed, treated and collaged to make the final pictures, featuring a harsh black and while ‘photocopied’ texturing to them. Freiss then photographed the montages, and treated them in PhotoShop before passing them on to E\T\C to make into films for the scrollers. He was “Absolutely thrilled” with the results which set the scene in an edgy film noir environment. | Click on the pictures for the large version |
