The visual possibilities for a show like this show proved irresistible for UK-based lighting and set designer, Declan Randall, who returned to South Africa specifically to work on the project. He used the diverse services of local theatre equipment rental supplier Gearhouse Splitbeam to help bring the concept to life.
"I have had a long and wonderfully collaborative relationship with VDC since the company began 15 years back, but since moving to the UK, I had not had the opportunity to work with Gregory Maqoma (founder and executive director) much, so I took a chance and sent him an email. As it happened, my timing was spot-on; he needed assistance with Full Moon and we have been talking and planning and designing since December last year," explains Declan.
With lunar cycles as the kick off point for the design; the circle motif featured strongly across the overall design language for the show. The notion of incorporating a fairly complex, flown pendulum set piece, with which the dancers could interact, came early and remained unchanged.
"The pendulum suggests movement and change, but also consistency - like the lunar cycle and seasons," he says. "Although it was only used for one section, the pendulum's impact on the piece was profound - it introduced a unique visual element that also imbued the scene with a sense of impending danger." A 4m wide circular pendulum base also offered the opportunity to edge light for the different moon phases as well as a surface for additional lighting and audio visual effects.
Design in place, Declan started working remotely through skype and email with South African suppliers to realise his concept. The schedule allowed for a single day to get the show into the venue before first stage rehearsal, so time was at a premium and he needed suppliers he could trust.
He approached South African supplier, Gearhouse Splitbeam for rental of lighting and projection elements and at the same time requested their assistance with the production logistics of the pendulum set piece as well.
The flown piece had to be able to move very smoothly and elegantly, be strong enough to be used interactively by the dancers and be adaptable enough to suit other theatre spaces as well. Splitbeam's Alistair Kilbee took on the challenge, devising a design solution, sourcing local suppliers for the custom made elements and overseeing the manufacture and final testing of the components for the piece.
Involving Duncan Riley, of DWR Distribution for his trussing expertise, Alistair designed a bespoke metal fulcrum system which provided the pendulum with the required range of movement as well as easy integration with the Prolyte HD trussing envisaged for the shaft.
The handover plan worked well and week before the move in Gearhouse Splitbeam was even able to bring in some of the elements for the performers to familiarise themselves with, ahead of first onstage rehearsals.
(Jim Evans)
