SOUND DESIGN DOCUMENTATION BUNDLE - QUT...Crown XLS 602 Amp #1 IN 1 2 OUT 1 2 Crown XLS 602 Amp #2 IN 1 2 OUT 1 2 Crown XLS 402 Amp #1 IN 1 2 OUT 1 JBL Control 30 Rear L JBL Control

SOUND DESIGN DOCUMENTATION BUNDLE

QUT ACTING – Good People

Directed by Sean Mee

Queensland University of Technology Bachelor of Fine Arts | Technical Production

THIS DOCUMENT CONTAINS CONFIDENTIAL INFORMATION

IF FOUND, PLEASE CONTACT AND RETURN THIS DOCUMENT TO:

MARISSA HILLIAR

Sound Designer QUT Acting – Good People

Phone: 0434 396 821 Email: [email protected]

Or return to:

QUT Kelvin Grove Creative Industries Precinct Z9, Level 2 – Student Services

Table of Contents 2 Plans and Schematics 3 Set Plan V4 with dimensions 4 General Speaker Placement Plan 5 Good People Speaker Placement Plan 6 General Speaker Section Plan 7 Good People Speaker Section Plan 8 General Sound and Vision System Schematic 9 Sound Designer’s Documentation 10 Extracted Sound List. 11 Reactionary Sound List 24 Sound Cue Synopsis 26 APRA Clearance and Information 36 Bingo Caller’s Recording Script 37 Research and Design Justification 39 QLAB File 46

Plans and Schematics

Set Plan Generated by Bethany Scott

General Speaker Placement Plan

Generated by Michael Trevisan

Good People Speaker Placement Plan Generated by Marissa Hilliar

General Speaker Section Plan


Good People Speaker Placement Plan Generated by Marissa Hilliar

General Sound and Vision Schematic


15x Flats 3m x 1m3x Flats 2m x 1m (Quick Change Area)French braces 650mm x 1500mmNo rostra*Props Table to be tall enough to fit over Sub.

CLSL

Season ofContemporary American Plays

Set Plan withDimensions

Title

03.05.2018Date

Version4

Bethany ScottDrawn By

Set Designer

Bethany Scott

Scale

1:50 @ A3

This document is subject to change

22871513

6631

1680

17461460

12841

409

2501

1626

Props Table

Quick Change

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1500

Notes

- JBL Control 30 - Mackie SRM450 - JBL Subwoofer- JBL Control 30 - Mackie SRM450 - JBL Subwoofer

Good People Speaker Placement PlanTitle SoundDesigners

*Subject to Change*Date

VersionDrawn By

11.05.20181

0434 396 821Scale 1:50 @ A3

VenuePhoneEmail [email protected]

The LoftMichael Trevisan, Marissa Hilliar

Key Notes-

- JBL Control 30 - Mackie SRM450 - JBL Subwoofer- JBL Control 30 - Mackie SRM450 - JBL Subwoofer

Title SoundDesigners

Marissa Hilliar*Subject to Change*Date

VersionDrawn By

Scale 1:50 @ A3

VenuePhoneEmail

The Loft

Key Notes

- Presonus monitor speaker located in the bio box, see Good People Speaker Section Plan V1

19/05/20181.5

VECTORWORKS EDUCATIONAL VERSION


x

Sound Designer

Marissa Hilliar

Good People Speaker PlacementPlan V1.5

Drawn by

Michael Trevisan, Marissa Hilliar

Sound Design

Marissa Hilliar

Scale

1:50 @ A3

Version

V1.5 as of 19/05/2018 @ 0900hrs

Phone

0434 396 821

Email

[email protected]

SUBJECT TO CHANGEFile

2018_QUTActing_SOCA18_GoodPeople_SpeakerPlacementPlan_v1.5

1398

Notes

- The model of the monitor positioned in the Bio Box is a Presonus Eris E5 High Definition Near Field Studio Monitor.

BIO BOX



GRID

ONSTAGE

AUDITORIUM

CONTROL ROOM

KEY NOTES *Subject to Change* Show Name

Venue

Drawn By

Version

Contact

Season of Contemporary American Plays, 2018

Sound & Vision Schematic

V2

The Loft, Kelvin Grove

Michael Trevisan Ph: 0419 674 854Email: [email protected]

Mac Pro (Qlab, DVS Installed)

Mac Mini (Qlab, DVS Installed)

Soundcraft SI Expressions 1IN1

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Cisco Network Switch

OUT1

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MOTU 16 A

IN

OUT1

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Apollo 8p

OUT

IN1

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Crown XLS 602 Amp #1IN1

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OUT1

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OUT1

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2

OUT1

JBL Control 30 Rear L

JBL Control 30 Rear R

JBL Control 30 FOH L

JBL Control 30 FOH R

JBL Subwoofer

Mackie SRM450 L

Mackie SRM450 R

Venue Patching SystemIN1

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OUT1

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Mackie SRM450 Spare

Decklink Quad1

PANASONIC PT-DS21K

OUT

1 2 3 4 5 6 7 8

SDI

ETHERNET

SM58

XLR

TRS - XLR

CAT 5

Thunderbolt

Din21 - SDI

Microphone

Speaker

- DVS = Dante Virtual Soundcard- Computer Monitors not included in schematic- Power Supply not included in schematic- Comms system are not included- For speaker placement visit speaker placement plan- Lens for projector is ET-DZ75LE10- Presonus monitor will be in Control Room for Good People and moved onstage to USC for Spike Heels and is not being used for RRB.

Archive Mac Mini (DVS, Pro Tools Installed)

IN

ETHERNET

ETHERNET

NTG

3

NTG

3

NT4

PersonusMonitor

Sound Designer’s Documentation

Extracted Sound List Generated by Marissa Hilliar

Reactionary Sound List

Generated by Marissa Hilliar

Sound Cue Synopsis Generated by Marissa Hilliar

APRA Clearance and Information


Bingo Caller’s Recording Script Generated by Marissa Hilliar

Research and Design Justification


Extracted Sound List V1 Good People Directed by Sean Mee

Marissa Hilliar Page 1 of 13 SOCAP 2018 Sound Designer SUBJECT TO CHANGE Extracted Sound List P: 0434 396 821 Version 1 as of 17/04/2018 E: [email protected] Correct at 2026hrs

Act Scene Page Sound Time and place Scene Description Theme/tone Dialogue

I

1 5 Door opening South Boston Massachusetts – an alley way behind a Dollar

Store.

Tense conversation between MARGARET and STEVIE behind their workplace.

Tense, nervous, frustrated

The back door opens and Margaret, about fifty, comes out with Stevie…

18 Door slams shut Tense, nervous, frustrated MARGARET:. I don’t think she’d approve.

2

20 TV blaring from the next room

Rundown kitchen – MARGARET’S house.

Some bickering between DOTTIE and JEAN over MARGARET getting fired,

Down, frustrated

MARGARET: Okay, well, that’s who fired me.

20 TV volume lowers MARGARET: Turn it off, Joycey!

21 TV blaring from the next room JEAN: They blame the higher-ups.

22 TV volume lowers MARGARET: Stop playing with those buttons. Joycey!

22 TV blares JEAN: Nothing. Just…Russell.

22 TV lowers MARGARET: Can you go in and turn that down for her, Dot?

24 TV blares again JEAN: You got that right.

25 TV is silenced JEAN: She relies on you.




I 4

74 Murmur of a crowd

Basement of a church

While playing bingo, DOTTIE, MARGARET and JEAN, with awkward/tense conversations with STEVIE and amongst themselves

Excited, nervous, awkward, tense.

Scene start.

74 Priest calling bingo numbers (VOICEOVER) “I-17. I… 17”

They are for sale.

74 Priest calling bingo numbers (VOICEOVER) “B-11.”

They play.

75 Priest calling bingo numbers (VOICEOVER) “B… 11.”

DOTTIE: They gave me shit cards.

76 Priest calling bingo numbers (VOICEOVER) “O-70. O-… 70.”

JEAN: It’s just a few cards.

76 Priest calling bingo numbers (VOICEOVER) “B-3. B… 3.”

DOTTIE: Or it won’t.




I 4

77 Priest calling bingo numbers (VOICEOVER) “G-48. G…48.”




DOTTIE: Joyce likes everybody, god love her.

78 Priest calling bingo numbers (VOICEOVER) “N-31.”

JEAN: Cookie was a fuckin’ wreck.

78 Priest calling bingo numbers (VOICEOVER) “N… 31.”

JEAN: Way before she lived on that wall even.

78 Priest calling bingo numbers (VOICEOVER) “O-74.”

MARGARET: They thought she was sleepin’.

78 Priest calling bingo numbers (VOICEOVER) “O… 74.”

MARGARET: That’s pretty sad.

79 Priest calling bingo numbers (VOICEOVER) “G-53.”

JEAN: You are?




I 4





JEAN: Why are you so negative all the time?

79 Priest calling bingo numbers (VOICEOVER) “G… 59.”

DOTTIE: I’m not negative, I’m realistic.

80 Priest calling bingo numbers (VOICEOVER) “I-20.”

DOTTIE: And what if they don’t?

80 Priest calling bingo numbers (VOICEOVER) “I… 20.”

MARGARET: What.


JEAN: … he has a long-lost daughter.

81 Priest calling bingo numbers (VOICEOVER) “O… 63”

JEAN: “…you remember that summer we dated?”




I 4





JEAN: I’d walker her right up to the front door.


MARGARET: You would, too.


MARGARET: You are too much.


JEAN: He’s calling all around you, Margie.

83 Priest calling bingo numbers (VOICEOVER) “B-13.”

DOTTIE: … those boys were actually his.


DOTTIE: Why he’d ever believe her is beyond me.




I 4

84 Priest calling bingo numbers (VOICEOV"ER) “N-41.”




DOTTIE: … and I was asked to leave.


JEAN: Well there ya go.


JEAN: Yeah, those rabbits for example.

85 Voice of Old Lady: “Bingo!” Previous SND.

85 Collective groan from the crowd Previous SND.

85 Voice of Priest: “That’s a good bingo!”

JEAN: … this nut her damn money.

87

Voice of Priest: “Next game: Inside Square. No B’s, no O’s. And we’re starting with… I-17. I... 17.”

DOTTIE: “Who threw that bird at me?!”




I 4





STEVIE: No, because I don’t care.


JEAN: It is peculiar though.

89 Priest calling bingo numbers (VOICEOVER) “N-41. N… 41.”

JEAN: … that’s all that matters.

89

Priest calling bingo numbers (VOICEOVER) “G-58.”

MARGARET: Speak for yourself.


JEAN: He knows what I mean.

90 Priest calling bingo numbers (VOICEOVER) “I 21. I… 21.”

JEAN: … I don’t know what else to tell you.




I 4





JEAN: Gay guys.

92 Priest calling bingo numbers (VOICEOVER) “I-24. I… 24.”

(Silence as Dottie stares at him.)

93 Priest calling bingo numbers (VOICEOVER) “G-60. G… 60.”

MARGARET: Aren’t you glad you sat here, Stevie?


STEVIE: Yeah, I know Russell Gillis.


JEAN: She’s been at that shop forever.


DOTTIE: … I don’t know, some crazy story.




I 4





DOTTIE: … and so out she went.


MARGARET: She’s got a following now.


DOTTIE: What following?


DOTTIE: That’s not how it is.


JEAN: Jesus, Dottie.


JEAN: Despite these assholes.




I 4





JEAN: You’ll be okay.


MARGARET: Oh yeah, that’s exactly what’s going to happen.


JEAN: It could.


JEAN: See what you did?

99 Cell phone rings Previous SND.


MARGARET: That’s my phone.


DOTTIE: Oh, good.




I 4





MARGARET: … she’s throwing up like that.


MARGARET: Okay. Bye.

101 Priest calling bingo numbers (VOICEOVER) “I-19. I… 19.”

MARGARET: I’m just telling you what he said.


JEAN: It is rude.

II

1

109 Doorbell rings

Early morning, around 7am. MARGARET shows up at MIKE and KATE’S, and trouble ensues.

Neutral – underlying tension

MIKE: I won’t wake her up.

150 Side doorbell rings KATE: I’m gonna get some white.

189 Voice of Ally: “Dad? … Daddy?” Scared, tense MARGARET: It’s insured.

2 194 Crowd murmur Basement of a church

MARGARET’S rent was paid – discussions how.

Focused sround them, but tense whispers between the characters.

Scene start




II 2

195 Priest calling bingo numbers (VOICEOVER) “First up is B-12.”

Basement of s church MARGARET’S rent was paid – discussions how.


DOTTIE: ... cause that money is ear marked.


JEAN: Just take it and forget it.


DOTTIE: … there’s no room at the inn.


DOTTIE: I would’ve missed Joyce.


MARGARET: It doesn’t matter, I’m not taking it.


DOTTIE: … gets all proud when she gets it.




II 2


Basement of s church MARGARET’S rent was paid – discussions how.


DOTTIE: He already has.

198 Priest calling bingo numbers (VOICEOVER) “O… 61.”

JEAN: Maybe the wife did it.

200 Priest calling bingo numbers (VOICEOVER) “B-5. B… 5.”

Surprise, hope, determination.

MARGARET: Okay.


DOTTIE: It’s a logical question.

201

Priest calling bingo numbers (VOICEOVER) “N-43. N… 43.”

JEAN: Everybody knew.

201 Priest calling bingo numbers (VOICEOVER) “O-72. O… 72.”

DOTTIE: Well why would he do that?


MARGARET: I hope so.

Reactionary Sound List V1 Good People Directed by Sean Mee

Marissa Hilliar Page 1 of 2 SOCAP 2018 Sound Designer SUBJECT TO CHANGE Reactionary Sound List P: 0434 396 821 V1 as of 20/04/2018 E: [email protected] Correct at 1349hrs

Act Scene Page Reactionary Sound Dialogue Scene Description/Location Theme/tone

I

1 5-18

Atmos – South Boston, city, back alley. Distant traffic, distant people and crowds, slight noises from the Dollar Store.

Scene start. South Boston – Massachusetts, in the alley behind the Dollar Store. Tense, fast, dank.

2 19-39

Atmos – South Boston city, distant traffic and people. TV from Joyce’s room dully heard through the walls – quite muffled and unintelligible.

Scene start.

Margaret’s Kitchen in South Boston, Massachusetts – most likely a small apartment in a rundown compound that habit the area. Women discuss Margaret’s recent unemployment and Mike’s return to Boston.

Tense.

3 40-73

Atmos – city in the distance. Muffled chatting of receptionists in the distance, computer keyboards, air conditioning.

Scene start.

Mike’s office – most likely inner-city Boston, as it is a specialist surgery. Margaret and Mikey reunite and Margie’s unemployment is brought up.

Excitement, underlying tension.

4

74-103 Atmos – chattering and murmurs of the other bingo patrons.

Scene start.

Basement of a church – makeshift bingo hall. The women play bingo, discussing Margie’s continued unemployment and her invitation to Mike’s party.

Tense, argumentative.

74-103

Bingo calls – from a cheap sound system. VOICE OF PRIEST is dull, disinterested – as though he has been doing it so long it has lost it’s excitement.

Reactionary Sound List V1 Good People Directed by Sean Mee

Marissa Hilliar Page 2 of 2 SOCAP 2018 Sound Designer SUBJECT TO CHANGE Reactionary Sound List P: 0434 396 821 V1 as of 20/04/2018 E: [email protected] Correct at 1349hrs

Act Scene Page Reactionary Sound Dialogue Scene Description/Location Theme/tone

II

1 105-193

Atmos - early evening – East coast night time-bugs in the distance, coming alive as the scene progresses. The soft lapping of water from the Chestnut Hill Reservoir in the distance. Little city sounds – a slice of almost-country in Boston.

Scene start.

Mike and Kate’s house in Chestnut Hill – an upmarket village-style part of Boston. Their living room. Margaret shows up for the party, even after it has been cancelled. Margaret and Mike both cause chaos. Early evening.

Tense, angry.

2

194-202 Atmos – chattering and murmurs of the other bingo patrons.

Scene start.

Basement of a church – makeshift bingo hall. They discuss Margaret’s visit to Mike and Kate’s, and the Margaret’s rent being mysteriously paid.

A little tense at the start, fades to relief and a sense of normalcy returns to the group.

194-202

Bingo calls – from a cheap sound system. VOICE OF PRIEST is dull, disinterested – as though he has been doing it so long it has lost it’s excitement.

Sound Cue Synopsis V3 Good People Directed by Sean Mee

Marissa Hilliar Page 1 of 10 SOCA 2018 | Good People Sound Designer SUBJECT TO CHANGE Sound Cue Synopsis P: 0434 396 821 V3 as of 24/05/2018 E: [email protected] Correct at 1039hrs

Cue

Number Source Act/Scene/Page Content Description Cue Point Output Fade Time Notes

0.2 QLAB Preshow Pink Noise (2 minutes) Operator Checks All

Sound check track TBC Operator Checks All

0.5 QLAB Preshow Preshow Music SM prior to doors

Chicken Shack – Blue Vein Auto-continue FOH, Rear, Sub

Ray Bonneville – Cool Cool Rain Auto-continue FOH, Rear, Sub

Peter Green – Don’t Walk Away From Me Auto-continue FOH, Rear, Sub

Traffic – Light Up or Leave Me Alone Auto-continue FOH, Rear, Sub

Blind Faith – Can’t Find My Way Home Auto-continue FOH, Rear, Sub

restart Preshow Music Auto-continue n/a

1 QLAB 1/1/5 Intro into Scene 1 – fade out preshow SM cue – FOH Clearance 8s

1.1 QLAB 1/1/5 Oh Well (Intro Cut) – Peter Green SM cue FOH, Rear, Sub n/a Song ends, first line

immediately as it finishes

1/1/5 Act 1 Scene 1 Atmos Auto-follow Mackie L + R 4s 30s prewait

2 QLAB 1/1/18 Transition into Scene 2 Stevie: “All right…”

QLAB fade in Rattlesnake Shake Auto-follow FOH, Rear, Sub 6s

QLAB fade and stop Act 1 Scene 1 Atmos Auto-follow 25s



Cue Number Source Act/Scene/Page Content Description Cue Point Output

Fade Time Notes

fade out Rattlesnake Shake Auto-follow 6s 28s prewait

Act 1 Scene 2 – Margie’s Apartment Auto-follow 2s prewait

TV 1 fades up Auto-follow Mackie L 4s

fade Act 1 Scene 2 Atmos in Auto-follow Mackie L + R 3s

fade and stop Rattlesnake Shake Auto-follow 8s

3 QLAB 1/2/20 TV 1 fades down Margaret: “Turn it down, Joycey!” 4s

3.3 QLAB 1/2/21 TV 2 fades up Jean: “They blame the higher-ups.” Mackie L 0.2s

3.4 QLAB 1/2/22 TV 2 fades down Margaret: “…those buttons, Joycey!” 4s

3.5 QLAB 1/2/22 TV 3 fades up Jean: “Nothing. Just… Russell.” Mackie L 0.2s

3.6 QLAB 1/2/22 TV 3 fades down Margaret: “…down for her, Dot?” 4s

3.7 QLAB 1/2/24 TV 4 fades up louder Jean: “You got that right.” Mackie L 0.2s

3.8 QLAB 1/2/24 TV 4 cuts out Dottie: “… at the end of the month.” 0.1s

4 QLAB 1/2/39 Transition into 3 Jean: “Ya never know.”

Peter Green – Oh Well FOH, Rear, Sub

fade and stop Act 1 Scene 2 Atmos 5s

4.5 QLAB 1/3/40 Act 1 Scene 3 – Mike’s Office SM cue




Fade Time Notes

fade and stop Peter Green – Oh Well 15s

fade in Scene 3 Atmos Mackie L+ R 6s

5 QLAB 1/3/73 Transition into Scene 4 Margaret: “You’re in deep now, Doctor.”


fade and stop Peter Green – Oh Well 10s 43s prewait

Act 1 Scene 4 – Bingo in Church Basement

fade in Act 1 Scene 4 Atmos Mackie L + R 5s 40s prewait Bingo Calls – Act 1 Scene 3

5.5 QLAB 1/4/74 I-17. I… 17 SM cue Special 2

6 QLAB 1/4/74 B-11 SM cue Special 2

6.5 QLAB 1/4/75 B… 11 Dottie: “They gave me shit cards.” Special 2

7 QLAB 1/4/76 O-70. O… 70 Jean: “It’s just a few cards.” Special 2

8 QLAB 1/4/76 B-3. B… 3 Dottie: “Or it won’t.” Special 2

9 QLAB 1/4/77 G-48. G… 48 Dottie: “… god love her.” Special 2

10 QLAB 1/4/78 N-31 Jean: “Cookie was a fuckin’ wreck.” Special 2

10.5 QLAB 1/4/78 N… 31 Jean: “… on that wall even.” Special 2




Fade Time Notes

11 QLAB 1/4/78 O-74 Margaret: “They thought she was

sleepin’.”

Special 2

11.5 QLAB 1/4/78 O… 74 Margaret: “That’s pretty sad.” Special 2

12 QLAB 1/4/79 G-59 Jean: “…so negative all the time?” Special 2

12.5 QLAB 1/4/79 G… 59 Dottie: “I’m realistic.” Special 2

13 QLAB 1/4/80 I-20 Dottie: “And what if they don’t?” Special 2

13.5 QLAB 1/4/80 I… 20 Margaret: “What.” Special 2

14 QLAB 1/4/81 O-63 Jean: “… long lost daughter.” Special 2

14.5 QLAB 1/4/81 O… 63 Jean: “… summer we dated?” Special 2

15 QLAB 1/4/82 I-16 Jean: “… up to the front door.” Special 2

15.5 QLAB 1/4/82 I… 16 Margaret: “You would too.” Special 2

16 QLAB 1/4/82 G-51 Margaret: “You are too much.” Special 2

16.5 QLAB 1/4/83 G… 51 Jean: “… all around you, Margie.” Special 2

17 QLAB 1/4/83 B-13 Dottie: “… boys were actually his.” Special 2

17.5 QLAB 1/4/84 B… 13 Dottie: “… her is beyond me.” Special 2

18 QLAB 1/4/84 N-41 Dottie: “… and I was asked to leave.” Special 2

18.5 QLAB 1/4/84 N…. 41 Jean: “Well there ya go.” Special 2




Fade Time Notes

19 QLAB 1/4/85 G-55 Jean: “… rabbits for example.” Special 2

Old Lady: Bingo! Crowd: Awww! Auto-follow Rear R 2s prewait

fade Atmos Layer 1 up Auto-follow Mackie L + R 2s 4s prewait

Check that card, Helen Auto-follow Special 2 7s prewait

fade Atmos Layer 1 down Auto-follow 30s 10s prewait

19.3 QLAB 1/4/85 That’s a good bingo! Jean: “… but her damn money.” Special 2

20 QLAB 1/4/87 Next game… I-17. I… 17 Dottie: “Who threw that bird at me?” Special 2

21 QLAB 1/4/88 G-46 Stevie: “No, because I don’t care.” Special 2

21.5 QLAB 1/4/88 G… 46 Jean: “It is peculiar though.” Special 2

22 QLAB 1/4/89 N-41. N… 41 Jean: “… that’s all that matters.” Special 2

23 QLAB 1/4/89 G-58. Margaret: “Speak for yourself.” Special 2

23.5 QLAB 1/4/90 G… 58 Jean: “He knows what I mean.” Special 2

24 QLAB 1/4/90 I-21. I… 21 Jean: “… don’t know what else to tell ya.” Special 2

25 QLAB 1/4/91 N-36. N… 36 Jean: “Gay guys.” Special 2

26 QLAB 1/4/92 I-24. I… 24 Stevie: “… for that sort of thing.” Special 2

27 QLAB 1/4/93 G-60. G… 60 Margaret: “… glad you sat here,

Stevie?”

Special 2




Fade Time Notes

28 QLAB 1/4/94 N-32 Stevie: “Yeah, I know Russell Gillis.” Special 2

28.5 QLAB 1/4/94 N… 32 Jean: “… at that shop forever.” Special 2

29 QLAB 1/4/94 G-52 Dottie: “… some crazy story.” Special 2

29.5 QLAB 1/4/94 G… 52 Dottie: “… out she went.” Special 2

30 QLAB 1/4/95 I-30 Margaret: “She’s got a following now.” Special 2

30.5 QLAB 1/4/95 I… 30 Dottie: “What following?” Special 2

31 QLAB 1/4/96 I-28 Dottie: “That’s not how it is.” Special 2

31.5 QLAB 1/4/96 I… 28 Jean: “Jesus, Dottie.” Special 2

32 QLAB 1/4/97 I-22 Jean: “Despite these assholes.” Special 2

32.5 QLAB 1/4/97 I… 22 Jean: “You’ll be okay.” Special 2

33 QLAB 1/4/98 N-45 Margaret: “… what’s gonna happen.” Special 2

33.5 QLAB 1/4/98 N… 45 Jean: “It could.” Special 2

33.6 QLAB 1/4/98 Church Bells Margaret: “… occasionally pisses the

bed.”

Mackie L + R

34 QLAB 1/4/99 G-47 Jean: “See what you did?” Special 2

Margie’s Phone Rings Auto-follow FOH R 3s prewait

34.2 QLAB 1/4/99 G…47 Margaret: “That’s my phone.” Special 2




Fade Time Notes

34.4 QLAB 1/4/99 VISQ – answers phone, stops VIS cue 0.1s

35 QLAB 1/4/100 G-56 Dottie: “Oh, good.” Special 2

35.5 QLAB 1/4/100 G… 56 Margaret: “… throwing up like that…” Special 2

36 QLAB 1/4/100 N-40. N… 40 Margaret: “Okay. Bye.” Special 2

37 QLAB 1/4/101 I-19. I… 19 Margaret: “I’m just telling you what he

said.”

Special 2

38 QLAB 1/4/103 N-33 Margaret: “…wanna see that house.” Special 2

39 QLAB 1/4/103 Interval Jean: “Cocksucker!”

Fade and stop Act 1 Scene 4 Atmos 5s

Oh Well – Peter Green FOH, Rear, Sub

39.5 QLAB 1/4/103 Interval Music SM cue - With House Lights FOH, Rear, Sub 20s

Fade and stop Oh Well – Peter Green Auto-follow 25s 60s prewait

Tony Joe White – If I Ever Saw A Good Thing

Canned Heat – On the Road Again

Chicken Shack – Poor Boy

Humble Pie – Say No More




Fade Time Notes

Mick Fleetwood – Don’t Be Sorry, Just Be Happy

Restart Interval Music 40 QLAB 2/1/105 Interval into Act 2 SM cue – FOH Clearance

Fade and stop Interval Music 12s Green Manalishi – Peter Green Auto-continue FOH, Rear, Sub

41 QLAB 2/1/105 Act 2 Scene 1 – Mike and Kate’s House SM cue

fade and stop Green Manalishi – Peter Green 12s

Fade in Act 2 Scene 1 Atmos 5s 42 QLAB 2/1/109 Doorbell rings (Front) Mike: “I won’t wake her up.” Rear R

42.1 QLAB 2/1/113 Spec – Light rail Kate: “… to me all the time.” Mackie L + R 3s

Fade Spec – Light rail in

Fade and stop Spec – Light rail 15s

42.2 QLAB 2/1/150 Doorbell rings (Side) Kate: “I’m gonna get some white.” Rear L 42.3 QLAB 2/1/150 Atmos Change – Kate’s Exit Mike: “She’s got a bit heart.” Mackie L + R 5s Atmos Layer 1+2 dips

42.4 QLAB 2/1/156 Atmos Change – Kate’s Re-entry Margaret: “… you made the right choice.” Mackie L + R 40s Atmos Layer 1+2 rise

42.45 QLAB 2/1/182 Atmos Change – with new LX State Mike: “And I don’t believe you!” 2s

42.5 QLAB 2/1/189 V/O Ally: “Daddy?” Margaret: “It’s insured.” Rear L

43 QLAB 2/1/193 Transition into Scene 2 Mike exits.

Man of the World – Peter Green FOH, Rear, Sub



Cue Number Source Act/Scene/Page Content Description Cue Output

Fade Time Notes

44 QLAB 2/2/194 Act 2 Scene 2 – Bingo in Church Basement SM cue

Fade and stop Transition into Scene 2 10s

Fade in Act 2 Scene 2 Atmos Mackie L + R 5s Bingo Calls – Act 2 Scene 2

45 QLAB 2/2/195 First up is B-12 Dottie: “… money is ear-marked.” Special 2

45.5 QLAB 2/2/196 B… 12 Jean: “Just take it and forget it.” Special 2

46 QLAB 2/2/196 N-33 Dottie: “… no room at the inn.” Special 2

46.5 QLAB 2/2/196 N… 33 Dottie: “I would’ve missed Joyce.” Special 2

47 QLAB 2/2/197 1-22 Margaret: “… I’m not taking it.” Special 2

47.5 QLAB 2/2/197 1… 22 Dottie: “… when she gets it.” Special 2

48 QLAB 2/2/198 O-61 Dottie: “He already has.” Special 2

48.5 QLAB 2/2/198 O… 61 Jean: “Maybe the wife sent it?” Special 2

49 QLAB 2/2/200 B-5. B… 5 Margaret: “Okay.” Special 2

50 QLAB 2/2/201 G-51. G… 51 Dottie: “What. It’s a logical question.” Special 2

51 QLAB 2/2/201 N-43. N… 43 Jean: “Everybody knew.” Special 2

52 QLAB 2/2/201 O-72. O… 72 Dottie: “… would he do that?” Special 2



Cue Number Source Act/Scene/Page Content Description Cue Output

Fade Time Notes

53 QLAB 2/2/202 G-53. G… 53 Margaret: “I hope so.” Special 2

54 QLAB 2/2/202 Post Show SM cue.


Fade and stop Act 2 Scene 2 Atmos

54.5 QLAB 2/2/202 Fade and stop Peter Green – Oh Well SM cue - With Doors 10s

Post Show Music Auto-continue

Blind Faith – Had to Cry Today FOH, Rear, Sub

Cream - Sunshine of Your Love FOH, Rear, Sub

Peter Green – A Fool No More FOH, Rear, Sub

55 QLAB Fade and stop Post Show Music SM cue – FOH Clearance 8s

APRA Clearance Information V2 Good People Directed by Sean Mee

Marissa Hilliar Page 1 of 1 SOCA 2018 Sound Designer SUBJECT TO CHANGE APRA Clearance Information P: 0434 396 821 V2 as of 25/05/2018 E: [email protected] Correct at 1022hrs

Composer Artist Title APRA ID Duration Publisher Cleared

GREEN, Peter Alan PETER GREEN SPLINTER GROUP Green Manalishi GW01796191 25-30s Snapper Music Yes

GREEN, Peter Alan PETER GREEN SPLINTER GROUP Man of the World GW03292101 20-30s Snapper Music Yes

GREEN, Peter Alan PETER GREEN SPLINTER GROUP Oh Well GW03499606 54s, 30s x 3 Snapper Music Yes

GREEN, Peter Alan PETER GREEN SPLINTER GROUP Rattlesnake Shake GW02415845 45s Snapper Music Yes

Bingo Caller Script V1 Good People Directed by Sean Mee

Marissa Hilliar Page 1 of 2 SOCA 2018 Sound Designer SUBJECT TO CHANGE Bingo Caller Script V1 P: 0434 396 821 V1 as of 06/05/2018 E: [email protected] Correct at 0912hrs

Act 1 Sc 3 1-17. I… 17 B-11. B… 11 O-70. O… 70 B-3. B… 3 G-48. G… 48 N-31. N… 31 O-74. O… 74 G-59. G… 59 I-20. I… 20 O-63. O… 63 I-16. I…16. G-51. G… 51 B-13. B… 13 N-41. N… 41

G-55. Check that card, Helen. That’s a good bingo. Next game: inside square. No B’s, no O’s and we’re starting with… I-17. I… 17. G-46. G… 46 N-41. N… 41 G-58. G… 58. I-21. I… 21 N-36. N… 36 I-24. I… 24. G-60. G… 60. N-32. N… 32. G-52. G… 52. I-30. I… 30

Bingo Caller Script V1 Good People Directed by Sean Mee

Marissa Hilliar Page 2 of 2 SOCA 2018 Sound Designer SUBJECT TO CHANGE Bingo Caller Script V1 P: 0434 396 821 V1 as of 06/05/2018 E: [email protected] Correct at 0912hrs

I-28. I… 28 I-22. I… 22 N-45. N… 45 G-47. G… 47 G-56. G… 56 N-40. N… 40 I-19. I… 19 N-33. Act 2 Sc 2 First up is B-12. B… 12 N-33. N… 33 I-22. I… 22 O-61. O… 61 B-5. B… 5

G-51. G… 51 N-43. N… 43 O-72. O… 72 G-53. G… 53

Research and Design Justification V2 Good People Directed by Sean Mee

Marissa Hilliar Page 1 of 7 SOCAP 2018 Sound Designer SUBJECT TO CHANGE Research and Design Just. P: 0434 396 821 V2 as of 08/06/2018 E: [email protected] Correct at 1259hrs

Playwright: David Lindsay-Abaire Original Broadway Premiere: February 8, 2011 at the Samuel J. Friedman

Theatre, NY Setting: South Boston, Massachusetts Number of Acts: 2 Genre: Comedy/Dark comedy About the playwright:

• Lindsay-Abaire is a Pulitzer-prize winner, who is also a lyricist and screenwriter. • His other notable works include Rabbit Hole, which he then adapted for the

screen, and Shrek the Musical, which he penned the book and lyrics for. • Lindsay-Abaire has Tony, Olivier, Grammy and New York Drama Critic’s Circle

awards and nominations under his belt. Dramatists Play Service, Inc. 2018.

https://www.dramatists.com/dps/bios.aspx?authorbio=David+Lindsay-Abaire Play Synopsis: “Life in Boston’s Southie neighborhood is no joke for single mother Margaret Walsh. Fired from her job, facing eviction, she doesn’t know whether to risk it all on a game of bingo, or join a drunken old classmate on a warm bit of sidewalk. Will she catch a break from the cranky young manager at the Dollar Store or the landlady with a craft business selling googly-eyed rabbits? Or the man from her past, now a successful doctor, who left town at a crucial moment long ago? With wry humour and astonishing realism, Pulitzer Prize-winning playwright David Lindsay-Abaire creates both a loving portrait of his hometown and a widely relatable tale of socio-economic struggle. In the world of Good People, we see that very few can afford to be as good as they think they are,but acts of sacrifice and gestures of kindness come at the most surprising moments and from the most unexpected of sources.” StageAgent.com. 2018. https://stageagent.com/shows/play/3874/good-people



Characters and QUT Cast: Margaret played by CLEMENTINE ANDERSON

About age 50, Caucasian with a South Boston accent. She has a daughter, Joyce (not seen). She comes from a low-socioeconomic background and has bounced around from job to job during her life. The father of her child left before/soon after her birth. Margaret struggles with the concept of “what if?” throughout the play, especially after she reunites with Mike and his wife. Dottie played by MADELINE EXARHOS Margaret’s landlady, older, in her 60’s. Also Caucasian, South Boston accent. She is quite quirky, selling her homemade rabbits. She is Joyce’s babysitter, and is known for being late. Jean blames her for Margaret’s dismissal at work. She is quite a busy-body. Stevie played by DANIEL GABRIEL Margaret’s boss at the Dollar Store. Plays bingo with the other women throughout the play. Arguably one of the only “good people” in the play. Lost his mother at some point, who the women knew. In his late 20’s, also South Boston accent.

Jean played by TATUM MOTTIN Same as Margaret, around 50, Caucasian with a South Boston accent. One of Margaret’s closest and longest friends. Believes that Dottie does not have Margaret’s interest in mind or heart at all, causes tension between the two.

Kate played by SIANDA STRINGER Mike’s wife. Younger, in her 30’s. African-American. Has a child with Mike, and it is evident throughout the play that they are enduring marital problems, boiling down to trust issues.



Mike played by MICHAEL VANDERSANDE

Michael, or Mike in the script, is 50 years old, similar in age to Jean and Margie. Dated Margaret during the summer before he went off to college. He is medically trained, and now lives in Chestnut Hill, an upper-class area of Boston. He is experiencing marital problems to do with trust and it is evident in the script from his first interaction with Kate. Location, time and setting: The play is centred in the South Boston, Massachusetts and Chestnut Hill, where Mike and Kate’s palatial mansion is located. In the script, it states that there is a clear delineation between the “Southie” neighbourhood that Margaret, Jean, Dottie and Stevie live and Chestnut Hill. Massachusetts is a state of the United States of America. South Boston is a derivative of the city of Boston and is located on the East Coast of the United States. South Boston in relation to Boston Boston, MA, USA



South Boston:

• Densely populated • Referred to as “Southie” • Part of Suffolk County, Boston • The St. Patrick’s Day Parade is set in South Boston each year, celebrating

Irish-American culture in Boston and the migrants from Ireland due to the Great Famine

• Has a population of about 63,000, with the median age being 32, 72% Caucasian

• Seaport redevelopment in recent years is encouraging younger, more financially-secure people to move to the South Boston area

• Was the home town of organised crime heard, James “Whitey” Bulger. https://en.wikipedia.org/wiki/South_Boston

• “an urban neighbourhood with a strong sense of history and tradition” • Largely working-class • Gillette factory still employs locals • Ironwork, glasswork and industrial areas prominent • South Boston is becoming a desirable area to live across all social

classes https://www.boston.gov/neighborhood/south-boston



Chestnut Hill:

• Located 10km west of Boston CBD • Is a New England-style village that is situated in three counties – Suffolk,

Norfolk and Middlesex. • Building styles are a mix of Colonial, Italianate, Shingle, Tudor and

Victorian Chestnut Hill Reservoir Home in Chestnut Hill Social, political and economical climate:

• Middle-class workers – very blue collar, working class climate, especially outside of the Boston CBD area

• Boston is considered the “unofficial economic and cultural centre of the entire region.”

• Three levels of government – executive, legislative and judicial, as penned in the Massachusetts Constitution (1780), which predates the US Constitution (1787)

• Massachusetts is and has been a mainly Democratic state since the time of the Kennedy’s

• Massachusetts was also the first state to issue same-sex marriage licenses in 2004

• Industry includes: plastics production, higher education, tourism, biotechnology, aerospace, defence, machinery, electrical equipment, scientific instruments, printing.

• Agriculture Is mostly cranberry crops, but also includes dairy, nursery and tobacco



http://www.newworldencyclopedia.org/entry/Massachusetts

• The majority of the wealth in Massachusetts is controlled by around 800 families, who can tie their ancestry back to the Mayflower and the pilgrimage and colonisation of Boston.

• Tourism and technology are the major economical stimulants https://www.britannica.com/place/Massachusetts Design Justification From the very first read and discussion of the play with my director and the cast, I was drawn to the idea of the show being a small window narrative of an overarching picture, and the production representing the crumbling of America and the American dream. In today’s scenographic environment, with emphasis on immersion, it was clear that I was going to have to take the path of “heard but not noticed” when it came to my overall design, and I aimed to achieve this through realistic and subtle moves and changes in atmospheric noise, shifting through scenes with punchy, East-Coast bluesy rock from the period of the character’s youth – a youth they were still plagued by and had never moved on from – a picture of both of the production and America itself. Another way that I tried to achieve my design was through the speaker placement, which all three designers across the season worked to leave the narrative separate from the audience by keeping the speakers in the playing space. There ended up being an exception to this, in two scenes where the director wanted the action close and intimate to the audience - where it was about the small things, and letting the audience join in on the bingo fun. This was heard and seen through the use of a spot speaker in the bio box, behind the audience playing with the actor’s close proximity to the audience. Both the director and myself were interested, from the beginning, in using atmos to assist in creating space and scene throughout the entire production, and this process included a lot of time in the rehearsal room observing the shifts in action and emotion throughout the scenes to shift and level what was happening underneath the dialogue. My biggest aim was to be unobtrusive, with punches in sound effects being naturally



occurring in the dialogue and pace of the production. Working with the other elements was also a goal that all of the design team aimed for, which came together in fades and timings throughout the scenes and transitions. The music choices in this production were a collaborative effort of ideas and choices that I brought to the table, that the director, cast and myself played with to tie scenes together. The feel of the music more than the lyrics played a part in this process, and the timing of the shifts in one particular piece pathed the transitions for the majority of the first act. The collaboration throughout this entire process, between the creatives, the actors, the director and the stage management team was so effective in creating such a cohesive and connected piece. It was an incredible experience, as a designer and a practitioner, to come together in such a way with all of the involved parties to create in such a collaborative.

QLAB File Hyperlink 2018_QUTActing_SOCA18_GoodPeople_SNDQlabShowFile_V6_180524

https://connectqutedu-my.sharepoint.com/personal/n9876723_qut_edu_au/_layouts/15/onedrive.aspx?id=%2Fpersonal%2Fn9876723_qut_edu_au%2FDocuments%2FSOCA18%20Good%20People%20QLAB

Portrait Plan [Landscape Plan]1/Portrait Plan

Portrait Plan [Landscape Plan] (1)1/Portrait Plan-2

Good People Speaker Placement Plan A3 [Sheet Title]1/Portrait Plan-3

Landscape [Landscape Plan]1/LandscapeSpeaker Section Block

Good People Section A3 [Sheet Title]1/Landscape-3