www.brinkproductions.com

BRINK PRODUCTIONS’

The Aspirations of Daise Morrow A new Australian Play based on a short story by Patrick White

PRESENTER PACK

Poster from the 2015 season. Design: Yianni Hill

FOR FURTHER INFORMATION, PLEASE CONTACT: Lee-Anne Donnolley

Producer Far and Away Productions

116 Hewitt Avenue, Toorak Gardens SA 5056 ldonnoley@farandaway.com.au

+61 410 653 120

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COMPANY PROFILE Based in Adelaide, Brink is a theatre company renowned for creating great new Australian theatre. Under the artistic directorship of Chris Drummond, Brink pushes the poetics of storytelling by bringing great artists from different disciplines into intensive collaborations to transform both intimate and epic stories into potent contemporary theatrical allegories. We want theatre to start deep conversations about big ideas in ways that enliven, inspire and elevate. We want theatre to be a transcendent experience: a place to sit outside ourselves, giving voice and flesh to the mysteries of human existence. Over the past 19 years Brink’s productions have been presented by most major Australian theatre companies. Brink’s shows have received widespread critical acclaim including the multi-award winning productions When the Rain Stops Falling and Thursday which are attracting fresh attention around the world. Brink’s patron is Robyn Archer AO.

ABOUT THE SHOW SHOW SYNPOSIS Set in the fictional suburb of Barranugli, the Whalley family are getting ready for a day at the dump while next door the Hogben’s prepare for the funeral of the scandalous Daise Morrow. Daise's niece, Meg, and Lum, the oldest Whalley boy, meet in the dump, which is separated from the cemetery only by a strand of barbed wire. The Aspirations of Daise Morrow is a word for word adaptation of Patrick White’s 1964 short story, Down at the Dump. It focusses on timeless themes of community, families, love and death. The audience sits in the round on burnt earth underneath an Australian sky, while the actors swap deftly between characters, moving through the audience, bringing them into the story. The music of Zephyr Quartet weaves in and out of the words, filling the communal space. Both brutally funny and profound, The Aspirations of Daise Morrow is an authentically Australian story. ACKNOWLEDGEMENTS Director: Chris Drummond, Designer: Michael Hankin, Lighting: Nigel Levings, Musical Director: Hilary Kleinig, Composers: Belinda Gehlert, Emily Tulloch, Jason Thomas, Hilary Kleinig, Cast: Paul Blackwell, Lucy Lehman, Kris McQuade, James Smith and Zephyr Quartet BIOGRAPHIES Chris Drummond – Director Chris Drummond is Artistic Director of Brink Productions where his credits include Thursday, Land & Sea, Skip Miller’s Hit Songs, Harbinger, The Hypochondriac, Beetle Graduation, The Clockwork Forest, This Uncharted Hour and Drums in the Night. Chris’ production of When the Rain Stops Falling won multiple awards including 2010 ACT Green Room Award - Production; 2009 Sydney Theatre Awards: Best New Australian Work; 2009 Victorian Green Room Awards and 2008 Ruby Award (Best Work). Chris was Associate Director at the State Theatre Company of South Australia between 2000 and 2004. His credits at State Theatre include Babyteeth, Art, The Dying Gaul, The Merchant of Venice, drowning in my ocean of You and Night Letters. Other directing credits include The Flying Dutchman for the State Opera Company of South Australia (Helpmann Award nomination for best direction) and a devised work entitled The Dissolving Self for NIDA in association with Carriageworks. Michael Hankin – Designer Michael is a set and costume designer for theatre and film, and a graduate of the National Institute of Dramatic Art (NIDA). Some of his theatre credits include Angels In America, The Glass Menagerie, A Christmas Carol, Ivanov, The Dark Room and Fool For Love for Belvoir; Jumpy for Melbourne Theatre Company/Sydney Theatre Company; As You Like It for Bell Shakespeare; Dirty Rotten Scoundrels at Theatre Royal; 247 Days (Australian season and Netherlands tour) for Chunky Move/Malthouse Theatre; Ugly Mugs for Malthouse Theatre/Griffin Theatre; Of Mice and Men for Sport for Jove; Rust And Bone and The Ugly One for Griffin Theatre Company; Songs For The Fallen for Brisbane Festival/Seymour Centre/Old Fitzroy Theatre; The Boat People for The

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Hayloft Project; Obscura for Force Majeure/Carriageworks; The Lighthouse and Through The Gates for Sydney Chamber Opera; Deathtrap and Macbeth for Darlinghurst Theatre Company; and Suddenly Last Summer and Women Of Troy for Cell Block Theatre. His film credits include Reason To Smile, and Julian and The Amber Amulet. Michael has been nominated four times for Best Stage Design at the Sydney Theatre Awards (winning in 2012 for Truckstop), as well as two Australian Production Design Guild Awards. He is currently designing Jasper Jones for Belvoir St Theatre, Othello for Bell Shakespeare and will be joining NIDA as Associate Lecturer in Design in 2016. Nigel Levings – designer Nigel Levings studied Lighting Design at Theatre Projects in London and with Jules Fisher in New York. He is the only Australian lighting designer to have won Broadway’s prestigious Tony Award – other awards include a Helpmann, an Ovation, a Dora Mava Moore, two Outer Circle Critics Awards and a Drama Desk. In a distinguished career he has lit over 480 productions including 170 operas and 25 musicals. His recent productions include Don Carlos for Opera Australia, Romeo and Juliette for Korea National Opera and Summer of the Seventeenth Doll for State Theatre Company of South Australia. Hilary Kleinig – Musical Director Hilary is a multi-skilled musician whose work includes performance, composition, education and arts management. She is passionate about creating new work, collaborating with new artists and inspiring new audiences. As well as her role as Artistic Director of, and cellist with, the Zephyr Quartet she works in live and recorded performance as a freelance musician for ensembles, orchestras and bands. As a baroque cellist she regularly plays with chamber ensembles such as Ensemble Galante, Adelaide Baroque, Adelaide Chamber Singers and the Australian Brandenburg Orchestra. At the other end of the musical spectrum she is a skilled improviser and plays amplified cello with various experimental and improvising ensembles. Hilary also composes music for film, dance, theatre and ensembles working with companies such as Brink Productions, The State Theatre Company of South Australia, Restless Dance Theatre, Adelaide Youth Orchestras, Adelaide Chamber Singers and Cirkidz. Zephyr Quartet – composers and performers Zephyr Quartet is Hilary Kleinig, Jason Thomas, Emily Tulloch and Belinda Gehlert. They are a bold and adventurous string quartet, delighting in the exploration of diverse music and forging dynamic collaborations. Since its inception in 1999 the quartet has shown a continued determination to expand the boundaries of art music and how it is received by audiences. A firm believer in the power of the string quartet as a medium to communicate and explore complex relationships between society and art, Zephyr has achieved an enviable reputation for artistic excellence, innovation and audience development. Armed with the spirit of collaboration, Zephyr Quartet has become a leading exponent of collaborative arts practice, drawing inspiration from working with artists from diverse backgrounds, including theatre, dance, literature, visual art, environmental art, design, film and media art, to produce work that is vital, current and courageous. Paul Blackwell – Cast Paul Blackwell has worked throughout Australia on stage, TV and film for more than thirty years. Paul’s work with Brink’s Artistic Director, Chris Drummond, includes Thursday, When the Rain Stops Falling, The Clockwork Forest, The Hypochondriac and Night Letters. His recent stage work includes Volpone, Eh Joe, The Seagull and Vere (Faith) for State Theatre Company of South Australia. Other theatre credits include Tartuffe, The Government Inspector and The Ham Funeral for Sydney Theatre Company; The Odyssey, Ubu and Up the Road for Malthouse and Belvoir. Paul’s film credits include Charlie’s Country, The Boy Castaways, Red Dog, Dr Plonk and The December Boys and TV credits include Deadline Gallipoli, Frank Fenner - Microbes to Macrobes and My Place. Lucy Lehman – Cast Lucy is a recent graduate of Flinders Drama Centre. During this time she has worked with Anne Thompson, Rosalba Clemente, David Mealor, Tom Healey, Nescha Jelk and Sarah Dunn. This is Lucy’s first production with Brink Productions.

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Kris McQuade – Cast A graduate of the National Institute of Dramatic Art, Kris’ most recent TV series has included Wentworth (earning her an Astra Award nomination for Most Outstanding Performance by an Actor - Female), A Place to Call Home, Packed to the Rafters, Killing Time and The Circuit. Kris is excited to return to Brink Productions after three successful seasons of When the Rain Stops Falling. Her other theatre credits include the role of Dolly Pickles in three international tours of Cloudstreet playing in Zurich, London, Dublin and New York, and roles in Neighbourhood Watch, Threepenny Opera in Sydney and Bogota (South America), Our Lady of Sligo, Snugglepot & Cuddlepie, Mourning Becomes Electra and The Odyssey. Kris’s recent film roles include Subdivision, December Boys and Ned Kelly. James Smith – Cast James is an acting graduate of Flinders Drama Centre. Since graduating James has appeared in State Theatre Company of South Australia productions Neighbourhood Watch, Othello, This is Where We Live and Volpone. His studies at Flinders and first two years out have seen him work with many respected directors and teachers including David Mealor, Rosalba Clemente, Tom Healey, Alirio Zavarce, Renato Musolino, Nescha Jelk, Julian Meyrick and Jon Halpin. In 2014 James was awarded the Bendigo Bank Helpmann Award for emerging artists and has received a South Australian Living Artists Award for Best Performance in Aaron Nassau’s Birdbath. This is his first production with Brink Productions. PERFORMANCE HISTORY Year Venue Number of performances 2015 Space Theatre 15

MARKETING One Line The only death to fear is the death of love. (Quote from Down at the Dump) Short Set in the fictional suburb of Barranugli, the Whalley family are getting ready for a day at the dump while next door the Hogben’s prepare for the funeral of the scandalous Daise Morrow. The Aspirations of Daise Morrow is a word for word adaptation of Patrick White’s short story, retaining all of the writer’s language, wit, scathing insight and wonderful humour. The Aspirations of Daise Morrow is brutally funny, profound in its understanding and empathy for human nature, and filled with magic and wonder.

Extended The Aspirations of Daise Morrow is a new work based on a short story by Australian writer and Nobel Prize winner Patrick White, featuring a cast led by Paul Blackwell and Kris McQuade - two of the country’s greatest theatre actors - and with a live score composed and performed by Zephyr Quartet. Set in the fictional suburb of Barranugli, the Whalley family are getting ready for a day at the dump while next door the Hogben’s prepare for the funeral of the scandalous Daise Morrow. The Aspirations of Daise Morrow is a word for word adaptation retaining all of the writer’s language, wit, scathing insight and wonderful humour. The Aspirations of Daise Morrow is brutally funny, profound in its understanding and empathy for human nature, and filled with magic and wonder.

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MARKETING SUMMARY We have a detailed marketing plan and report from the 2015 season at the Space Theatre, including target audiences and an analysis of what marketing was successful. For this production our target audiences were: • Existing Brink patrons, email subscribers and social media followers • Literary community with an interest in Patrick White, Australian authors and literary events • Zephyr Quartet/music audience • Theatre-going public Successful strategies included reaching out to bookclubs and writers’ clubs to promote the show, as well as engaging with English, Drama and History students at both high school and tertiary level. We ran a print and digital ad campaign, with 80% of advertising digitally and 20% in print. This was a good ratio and allowed us to connect with younger theatre goers.

AUDIENCE REVIEWS “The Aspirations of Daise Morrow was creative, interesting and unique in its design and direction. I laughed, cried and inhaled the atmosphere around me. A great production!”

“This was really beautiful theatre; the Patrick White story was sublime in itself, but the simplicity of the staging, the live music, the score and the delicacy of the acting combined to create something really special. I just loved it!” “The cast, crew and musicians all fitted together seamlessly to create a stunning, unique, witty and moving show. The text delighted me and I am keen to read the story now, it was my kind of tale- character rather than plot driven and beautifully written.” “It was a near perfect production. Minimalist, engaging, very moving, everything about it was absolutely brilliant. The source material is very strong, and Brink did an incredible job in showcasing the strong writing. Music was incredible. I absolutely loved it.” IMAGES High res selection of productions shots available here: https://www.dropbox.com/sh/turw0sp579csohg/AAC2OIYYwX1cILKns4mfGLyXa?dl=0 All photos: Tim Standing, Daylight Breaks

MARKETING MATERIALS Flyers, A5 posters, review pull quotes, high quality footage (available in late November)

CONTENT WARNINGS / AUDIENCES TO AVOID

If grass is used in the set, signage for FOH to inform people.

SPONSOR OR OTHER ACKNOWLEDGEMENTS Arts SA, Australia Council

TEACHER’S RESOURCES Yes, attached in resources.

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TECHNICAL SPECIFICATIONS

OVERVIEW The Aspirations of Daise Morrow is Brink’s immersive reimagining of a Patrick White short story, Down at the Dump, retaining all his language, wit, scathing insight and wonderful humour and transforming it into something raw, urgent and unexpected. Within a theatrical installation that’s both recognisably Australian yet somehow anchorless, the audience and actors exist together beneath an Australian sky. The performances are up close and personal, constantly transforming, circling and complicit; in one moment hilariously grotesque, the next conspiratorial then suddenly present and connected. The work constantly shifts and swirls, drawing the audience into the sensual immediacy of a strangely familiar world – the suburb of Barranugli – where the Whalley family are getting ready for a day at the dump, while next door the Hogbens prepare to bury the scandalous Daise Morrow. ‘Do you think anybody will come?’ Mrs Hogben asked. ‘What do you take me for?’ her husband replied. ‘One of these cleervoyants?’ SET SUMMARY The production, a version of theatre in the round, is designed to be performed in a black box theatre or blacked out gallery type venue with all seating removed. A grid is required to suspend a canvas canopy and lighting bars. A large canvas canopy is suspended above the audience and the performers, obscuring the ceiling/grid. Lighting is from lighting bars hung on the periphery of the canopy and from the floor in each corner of the space. The majority of the lights are aimed up at the canopy and the performance takes place in the reflected lights. The entire stage floor is covered with dying Anna Santa grass and includes a central mound 4m in diameter and 200mm high made from brickies sand. The audience seating is 160-168 x wooden folding chairs laid out on the performance space – the cast performs amidst these chairs. There is a minimum of props. PERFORMERS The original production of The Aspirations of Daise Morrow includes 4 actors and 4 musicians, the Zephyr Quartet. Remounts can include the Quartet or recorded sound cues. GENERAL SHOW INFORMATION

FOH information 168 seats capacity 1 hr 20 mins No interval The production contains coarse language. The stage is covered with live grass. Latecomers – about 15mins into the performance

Number of shows Max 2 shows per day, 8 shows per week (Except in Production week) Minimum 3 hour break in between shows Minimum 1 day off per week.

Touring company

Full season 4 x actors, 4 musicians 2 x crew if on tour; 1 x SM for season)

To Opening Night, and for Bump-out TBC

1 x Production/Technical Manager

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VENUE REQUIREMENTS

PRODUCTION REQUIREMENTS

Stage Management

Stage Manager desk: SM desk – at stage level Space for 15” Macbook for QLab QLab interface to be placed within 1.5m of laptop at SM Desk Cast call to Dressing Rooms Shout microphone Communication – see below

Backstage 4 x props tables provided by Company

Cue lights 4 x cue light system to be provided, dependent on access into the venue

Water Access to filtered tap water (not sparkling water)

Kitchen Tea/coffee making facilities including Urn or access to boiling water Washing up facilities Microwave

Communications / Monitors

Communications Stage Manager desk x 1 Lighting Operator x 1 Sound Operator x 1 TBC

Wireless - MX x 1

Production desk x 3 TBC (see below)

Stage Sound Monitor N/A

Stage Video Monitors N/A

Production Desk Required in auditorium entire season – needs to be black Comms x 3 (SM, LX, SD TBC) Dimmable desk lights x 2

To Opening Night only

1 x Director 1 x Lighting Designer TBC 1 x Producer TBC

Venue type Black box venue or equivalent

Audience/Performance area Min 20m x 20m clear of seating CAD plan of October 2015 production in Space Theatre, Adelaide Festival Centre available as reference

Height – stage floor to grid Minimum 6m; grid access is required to rig the canopy. Centre of canopy needs to be a minimum of 4.5m off the stage level. No flying required for show plot

Stage Floor Not raked

Masking Full black panorama masking or black walls on perimeters of the audience/playing area – dependent on venue.

Theatre access

Load-in & Load-out Adjustable loading bay ramp. Level loading path for loading in/out of freight Forklift and pallet jack required depending on freight truck.

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Crew requirements

Local crew – bump-in Refer to Schedule outline below

Local show crew - show 1 x Mechanist 1 x Lighting Board operator TBC 1 x Sound Operator TBC 1 x Wardrobe maintenance - TBC

Local crew – bump-out Refer to Schedule outline below

Dressing Room / Laundry Requirements

Dressing rooms Dressing room facilities for 8 performers with benches or dressing tables, chairs, mirrors (table and full-length), showers and toilets, good lighting for make-up. Minimum 3 dressing rooms (2 Men, 2 Women, Zephyr Quartet) Need to be lockable to secure the Quartet’s instruments

1 x Production Office for Stage/Tour Manager and Production Manager, with access to phone and email/internet.

Wardrobe maintenance

Wardrobe maintenance call required after each performance (max 3 hrs), Between shows on matinee days TBC (No show dresser required)

Laundry facilities 1 x Washing machine 1 x Tumble dryer 1 x Drying cupboard Hand washing facilities Ironing facilities

Dry cleaning TBC – Fortnightly negotiable

Consumables Real banksias x 4 weekly Hair colour for 2 actors – frequency TBC Make-up

Freight i.e. Pantec capacity 33.28 m3 with tailgate 200 foldable wooden chairs on 5 x 1.2m x 1.2m x 1.5m high pallets, masking for lighting, large tub for canopy and rigging, props (including wheelbarrow) and costumes tubs.

Risk Assessment Risk Assessment documentation for October 2015 production in Space Theatre, Adelaide Festival Centre, Adelaide, South Australia is available for reference.

General show notes Show crew to wear long-sleeved black shirt and long pants.

SET Overview: The main elements of the set are as follows: - 200 wooden folding chairs - Large canvas canopy suspended from venue grid above the audience/performance area. - Entire stage floor to be covered with dying Santa Anna grass or equivalent - Mound of brickies sand, covered with lawn in centre of performance area – 4m diameter, 20cm high in

centre, down to 0cm on edges (about 1.8 tons) - 4 x props tables

Brink Productions to provide - Canopy - Chairs - Masking for hung and floor lights - Props tables - All props - All costumes and make-up

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Presenter to provide: - Plastic sheeting and lawn to cover the entire performance area - Brickies sand x 1.8 tons - Equipment to bump-in/bump-out lawn and sand

Images of October 2015 production, Space Theatre, Adelaide, October 2015

Chairs and lawn as seen from balcony

Chairs, lawn and canopy Space Theatre, Adelaide, October 2015

Hung lighting and masking

Floor lights with masking

Audience chair

LIGHTING Overview: The lighting plan will be specifically adapted to each venue and is to be delivered one month prior to bump in. The lighting concept includes lamps hung on 12m bars on the 4 perimeters of the performance area (4 bars); lamps hung in the corners of the venue grid and floor lamps on H stands in the 4 corners of the room. The majority of the lamps uplight the hung canopy though those in the grid corners are used as specials on the cast and musicians.

Lighting requirements as at October 2015

Lighting control board ETC Ion or equivalent

Fixture positions As per plan to be provided – CAD Plan of October 2015 production available as reference

Lanterns (Indication only) 12 x 36° Source Four profile 12 x 50° Source Four profile 32 x Source 4 par lamp mfl lens – or equivalent 32 x Source 4 par lamp wfl lens - or equivalent 16 x par64mfl - 110v 1 x 2kw Fresnel 4 x 1kw Fresnel 5 x Robe Pointe moving light (4 active, 1 spare) 20 x par36narrow - 6v 30w type 24 x Gobo type 77594 - Bark. Brink have 24 x A size of this gobo.

Brink Productions to provide: - Show Plot disk – format TBC - Venue Specific Lighting Plan including gel requirements - Masking for hung and floor lighting (shielding audience members’ eyes from floor lights) and black sash - 24 x 4m Droppers for periphery lighting bars - 24 x Bark gobos (Size A) Presenter to provide: - All lighting fixtures, accessories & gels (all fixtures and accessories on hung bars and on the floor need to

be black) - Lighting control board - All dimmers and cabling - 4 x 12m lighting bars, painted black (can be 8 x 6m bars joined in twos) SOUND Overview: The original production of the show included the Zephyr Quartet playing acoustic instruments. No miking of the cast was required in the Space Theatre. Audio was only required to play FOH sound as the audience enters in which case the audio set up is much leaner. The touring version of the show WITHOUT the Zephyr Quartet includes a recorded version of the audio with playback from QLab operated by Company Stage Manager.

Sound Requirements as at October 2015

Desk Minimum 12 channel mixing console desk (Digital preferred - E.g. Yamaha LS9 4 x output sends for Main PA

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Brink Productions to provide: - Macintosh laptop with Outboard D/A running QLab - QLab software - M-Audio Profire 610 Audio Interface

Presenter to provide: - Complete sound system as specified above. - Talkback system as above - Cue light system as above

ACCESS INFORMATION Any queries with regard to access should be directed to Brink’s General Manager

1 x Aux for Reverb

Sources Playback for the show is provided by Qlab version 2.3.9 via a touring Macintosh laptop with external M-Audio Interface (M-Audio Profire 610, 10 outputs) 2 x DIs for the M audio to console ( if 2 channel M audio Box ) 2 – 8 ch x Line level TRS patch required from the Sound console to the Stage Manager position at stage level

.

Microphones 1 x Shout Mic (switch) – Stage Manager

Speakers/amplifiers To suit venue “if in the round “ 4 x professional high quality 12” + horn speakers (minimum) Flown in the four corners of the performance space and integrated into the Positioned at the audience and performers Please provide all speaker cables / rigging to suit venue and house equipment

FOH processing 31 band EQ for each output send (if analogue) 1 x stereo reveb unit - music playback (if analogue )

Talkback Wireless Radio Comms with a min of 4 wireless belt-packs Wired Comms system with a min of 4 sub stations. Must be integrated

Cue lights Max 4 x cue lights with the master unit set on SM desk Position of cue lights slaves - TBC depending on access doors into the venue.

Live Captioning For the October 2015 Adelaide production, Live Captioning was done with the use of Live Captioning’s Go Theatrical app. Patrons provide their own tablets or smart phones and download the app. Wifi access and clear microphone input from stage sound is required.

Audio Description Describers need to be placed so that they have a clear view of the cast but so that audience members do not hear them describing. This position will need to be venue specific.

Auslan interpretation As of October 2015 no Auslan interpretation has been done of the show. Interpreter placement could be problematic and would need to be discussed with Brink’s Artistic Director and General Manager.

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CREW SCHEDULE (as at October 2015)

PRE-RIG Clear venue of all seating Rig stage lighting TBC Rig Sound speakers as per plan

Crew as appropriate

DAY ONE

Morning Unload truck Set bump-in including:

- Hang canopy - Line stage floor with plastic - Build centre mound with brickies sand - Cover stage floor with lawn - Set up chairs - Venue masking as necessary

4MX x 5hrs

Rig LX, Floor LX and lighting masking LX focus and patch

4 LX x 4hrs

Wardrobe maintenance 1 WD x 3hrs TBC

Afternoon Continue Set Bump-in (lawn TBC) 3 MX x 4hrs

Cont. LX Focus and patch 4 LX x 4hrs

Install Sound Tune system during dinner break

2 SD x 5hrs

Evening LX focus and Plot 4 LX, 1 MX x 4hrs

DAY TWO

Morning SD Plot/tidy 1 SD x 4hrs

Complete LX Focus 2 LX x 4hrs

Set tidy 2 MX x 4 hrs

Afternoon Check lighting states / Dry tech Show crew (1MX, 1LX, 1SD) + 1 LX x 4hrs

Evening LX Plot/ Tech rehearsal Show crew + 1 LX x 4hrs

DAY THREE

Morning Tech hold Show crew + 1 LX x 4hrs

Wardrobe maintenance 1 WD x 3 hrs

Afternoon Dress Rehearsal Show crew x 4hrs

Evening Performance Notes as required

Show crew x 4hrs

SEASON

Perf time minus 1.5 hrs Venue/stage open for Stage Management 1 MX

Perf time minus 1 hr LX and SD crew call 1 LX, 1 SD TBC

Perf time Performance

Perf time + 1hr 20mins Performance ends

Perf end + 15mins Venue/stage clear 1 MX

Wardrobe maintenance 1 WD x 3hrs TBC

BUMP-OUT

Up to 6 hours, depending on floor cover

Note: Time specified is to bump-out the show only, including truck pack. Time required to restore theatre to standard rig (LX, SD and Masking) should be added by local presenter as necessary.

7 MX x 6hrs 4 LX x 4hrs 1 SD x 2hrs