Chicago Scenic’s “Mini 8” control system automates Richard III production

When The Chicago Shakespeare Theatre launched its 2009-2010 season with “Richard III”, Chicago Scenic was responsible for the production’s versatile and automated set.

Chicago Scenic oversaw the various elements that helped create the setting for Shakespeare’s study of the brilliant, scheming hunchback monarch who murders and seduces his way to the English throne.

“Audience members first seeing the theater’s traditional thrust stage probably didn’t realize they were seeing just the top layer of a 3-layer deck,” Project Manager Rob Kovarik said. Second and third layers were necessary for structural and automation support.

Two automated elements on the deck were supplied by Chicago Scenic. The first piece was an aluminum framed, acrylic elevator which raised up six feet above the stage floor and lowered again to be flush with the stage surface.

The second automated element was an eight-foot by eight-foot, hinged trap door. In Richard’s death scene, the trap door lowered, amidst eerie red light and billowing smoke, Richard’s body seemed to be sucked into Hell.

Both the elevator and trap door were controlled by Chicago Scenic’s proprietary “Mini 8” Control system. The portable Mini 8 provided concise positioning and consistent reliability, important characteristics for a theatrical presentation that may repeat up to eight times a week. Cues are executed based upon position and cue timing and calculated during entry so users know exactly how long a cue will last before it is executed.

Chicago Scenic also built a rolling staircase that occupied various positions on stage throughout the play, and a 12-foot spiral staircase that descended below the stage and provided an onstage exit.

“The Addams Family” Chicago production debuts, features three unique CSSI scenic pieces

Unique scenic pieces designed by Julian Crouch and Phelim McDermott, codirectors and codesigners of “The Addams Family,” were created by Chicago Scenic and graced the stage during the show’s run at Chicago’s Oriental Theatre, prior to its New York debut. Each piece was 44-feet long and arranged in subsequent heights; the tree line, representing New York City’s Central Park, was just nine-inches high. Behind that were two layers of buildings, each about 7’-6” tall, creating a New York cityscape.

The building facades were comprised of 24 individual pieces; each piece contained graphics of several buildings. On each of the 24 sections, as many as 100 tiny windows, one-half inch by one-inch, were cut out so that light could shine through. The illuminated cityscapes instantly set the mood and time on stage. At dusk, hundreds of lights glowed faintly, shined brightly at nighttime, and were opaque during daytime scenes.

The 24 building façade pieces were sized to fit on standard sized Sintra panels, approximately four-feet by eight feet, and each individual piece was actually made of three pieces “sandwiched” together. The top layer consisted of self-adhesive vinyl graphics onto which the unique building facades were printed.
The middle layer was made from Sintra cut to match
the building silhouettes. The third layer was a masonite layer cut to match the building silhouette. Assembling the
units was a complex process due to the different
characteristics of the lighting. Some lights were placed behind the vinyl, creating a diffused look to the window, while others poked through the surface to create
bright spots of light for illuminated street lamps and car headlights.

“The masonite layer,” explained Project Manager Jean Burch, “facilitated fabrication. We cut the masonite pieces early on in the process so our Electrics Department could begin work on each building’s electric circuitry.” The masonite also provided a solid backing to each group of buildings, preventing light “leaking” upstage, and facilitating future maintenance.

In addition to the three scenic pieces, CSSI built the backing walls for the beds for Addams Family parents Morticia and Gomez, daughter Wednesday, and a guest.