OK, I'm going to try to help here a bit.burtond wrote:Wednesday 3rd February 2010 – UK London
There were real problems with ’Electricity’ this evening.
Well that is how it was for me. I'm sure the problems will be rectified for my next visit on Monday evening next week.
The whole production is one whole big team effort..and a very complicated mix of technical and artisitic skills/elements - on, behind and below the stage. It all comes together most nights to provide the peak performance you can at times come to think is easy.
Irrespective of any elements of music/sound-effect being pre-recorded, the whole show is coordinated using a electroinic "cueing" system. The system pre-programmes and triggers nearly every element of the production from the starting of the rising of the bed to the lighting to the timing of the mics being active and to the setting of the sound mixing desk. Such a complex show would not be possible without it. Which is to say that whatever the musicians are playing, it is the automation system that is controlling what the audience hears.
As the New York production found out, once any of the many elements of a cueing system get out of step for any reason it's really very difficult to correct in mid flow . The fact that the crews manage to correct any problems in real time and keep the production flowing has always amazed me. Most normal jobs call for a tea break and a biscuit while the computers reboot ..but not in the theatre.
But all credit to the cast, MD and crew to be able to have kept it going {it's not easy conducting, talking on the phone and playing a keyboard all at the same time I'm certain!}.
99.5% {work it out.. } of the people in the audience I'm sure did not realise anything was amiss.