AN ILIAD HOMER'S COAT - Octopus Theatricals
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HOMER’S COAT
AN ILIAD
TECHNICAL RIDER
Version 5.5 – April 2020
CONTACT PERSONNEL
Producer (Octopus Theatricals) Mara Isaacs
O: +1 646 964-5585
M: +1 917-509-1020
E: mara@octopustheatricals.com
www.octopustheatricals.com
Production Management/ Lighting Direction Davison Scandrett
M: +1 646 645 1677
E: davisonscandrett@mac.com
Artist (Homer’s Coat) Denis O’Hare
E: denisohare@me.com
M: +1 917-854-3487
Lisa Peterson
E: Lpete88888@aol.com
M: +1 917-557-4227
www.homerscoat.com
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The information contained in this Technical Rider specifies the requirements for the presentation
of the HOMER’S COAT production of An Iliad (herein referred to as Company). It serves as a
binding agreement and integral part of the contract between Company and the Promoter(s),
local Producer(s) and/or Presenting official(s) (herein referred to as Presenter).
All personnel, facilities, equipment and materials described in this Technical Rider must be
provided by the
Presenter at the Presenter’s sole expense, except where specifically noted as provided by the
Company.
ANY VARIATIONS FROM THE SPECIFICATIONS OF THIS TECHNICAL RIDER MUST BE
NOTED DIRECTLY IN THE BODY OF THE DOCUMENT AND BE MUTUALLY AGREED
UPON BY THE PRESENTER’S SIGNATORY AND THE COMPANY’S AUTHORIZED
REPRESENTATIVE, AS INDICATED BY BOTH PARTIES’ INITIALS NEXT TO THE
ALTERATION.
OVERVIEW
An Iliad is a live theatrical performance with live processed music and recorded sound. One
actor and one contra-bassist perform the work. It is played on a proscenium stage or open
stage with the audience situated in front of the stage. Total running is time approximately 1
hour and 40 minutes with no intermission.
The Company travels with performers, director, scenic designer, and minimal supervisory
technical crew. Costumes, some sound equipment, and some props are carried by the
production in checked baggage. The scenic design is created onsite using props, furniture,
scenery, and technical equipment found in the venue to create a stage setting that looks like
the theatre is in the middle of a load-in or load-out.
The Presenter must provide a theater, lighting system, sound system, technical director,
technical crew, and specific scenic and prop elements. The Presenter is to provide all
personnel, facilities, equipment and materials described in this rider.
The Company requires that all preparation to the stage be completed per the Company’s
plans prior to the arrival of the Company. This includes: all soft goods struck; all lights
hung, circuited, colored, & patched; sound system hung, tested, & patched.
1. TECHNICAL INFORMATION
No less than 3 months in advance of the engagement please provide the company with a
CAD (DWG, DXF, VWX) ground plan and section of the theater, lighting and sound equipment
inventories and drawings of repertory light or sound set-ups. In addition, please provide
photos of the stage and the house (audience) and provide information about entrances to the
stage and audiences, both from back stage and from the house. Please provide contact
information for all theater staff.
No less than 6 weeks before the engagement please provide photos & descriptions of options
for the prop and set elements that the Presenter is required to provide as outlined in Article 5:
SET & PROPS.
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Approximately 4 weeks before the presentation the company will provide the presenter with
detailed plans and a light plot tailored to the specific space and equipment of the presenter.
Although best efforts to use the presenter's equipment will be made there may be some items
that need to be rented.
Although a ground plan will be provided by the company as part of the technical information,
final positioning of the set elements will be determined upon the arrival of the company
2. PERSONNEL AND LABOR
A) Company Staff
Total travel company is 7-8 people. The company will be traveling with:
1 Actor
1 Musician
1 Director
1 Scenic Designer
1 Lighting Director
1 Production Manager
1 Stage Manager
1 Sound Engineer
B) Presenter's Technical Director
The Presenter must provide a qualified Technical Director with authority to make decisions
and with knowledge of the theater. The technical director must be available to work with the
Company production staff and the local technical crew during preparation and through the
entire engagement. The Technical Director must stay on the stage working directly with
the company at all times.
C) Interpreters (outside US, UK, Australia and Canada)
The Presenter must provide an interpreter to the Company at all working times. This includes
meetings, press conferences, work calls, rehearsals and all performances. The interpreter
must be completely bilingual in English and the local language and be familiar with technical
theater terms in both languages. Under no circumstances may the interpreters be members of
the working crew. If activities happen concurrently (technical work and a press conference for
example) more than one interpreter will be required.
D) Runner
The Presenter must provide a runner with a motor vehicle capable of transporting goods at all
times the Company is working in the theatre. The runner must have knowledge of the local
area, including vendor and supplier locations
E) Technical Crew
The Presenter shall provide all technical personnel. The Company’s production staff is
prepared to provide a supervisory role only. The direct, hands on work will be done by the
local personnel. It is essential that the SAME technicians be present for all rehearsals and
performances. The Company’s Sound Engineer MUST operate the sound console and the
Company’s Lighting Director DOES NOT operate the lighting console.
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PLEASE NOTE: DUE TO THE CONCENTRATION REQUIRED BY MR. O’HARE PRIOR
TO AND DURING THE PERFORMANCE, CREW MEMBERS MUST REFRAIN FROM
ENTERING THE ONSTAGE AND OFFSTAGE AREA FROM THE TIME THE HOUSE IS
OPEN UNTIL THE CONCLUSION OF THE PERFORMANCE. TYPICALLY, THE ON
DECK CREW MEMBER IS STATIONED IN A HALLWAY OR CROSSOVER JUST
OUTSIDE THE STAGE AREA.
The schedule in Article 3 below outlines typical crew needs, but will vary depending on the
venue, repertory setup, work rules, and other factors. Final crew numbers are to be
determined by the Company’s Production Manager in consultation with the Presenter’s
Technical Director.
3. WORK SCHEDULE
This schedule is typical. The Company will, in collaboration with the Presenter's technical
director, create a specific schedule that reflects local working hours, conditions, rehearsal
needs and performance times.
PRE HANG Per Presenter
Time Activity Electricians Stagehands Sound Wardrobe
Per Presenter Hang, patch, color light plot 6 4 3
Hang, tune, and patch
2 Days before the 1st Performance
Time Activity Electricians Stagehands Sound Wardrobe
9:00 – 13:00 Source Scenery / Bring to Stage 6 4 3
Setup Sound
Adjust Booms / Start Focus
13:00 – 14:00 Lighting Lunch / Sound & Scenic Work
14:00 – 15:00 Sound & Scenic Lunch / Lighting Focus 6
15:00 – 18:00 Lighting Focus 4 4 1
Sound Work
Source Scenery / Set Stage
Prep Wardrobe
18:00 – 19:00 Sound Dinner / Others Continue
19:00 – 20:00 Lighting & Scenic Dinner / Quiet Time 1 Head
20:00 – 23:00 Bass & Vocal Sound Check 1 Console 2 Deck 1
Use Costume Pieces 1 Spot
1 Electrician
6 Hours to be Translator & supertitle operator to Translator & Surtitle Operator
determined work with company
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st
1 Day before the 1 Performance
Time Activity Electricians Stagehands Sound Wardrobe
9:00 – 11:00 Focus Notes 1 Console 2 Deck 1 Head
Work Notes 1 Spot
11:00 – 1:00 Lighting Cues 1 Electrician
Scenic & Sound Notes
13:00 – 14:00 Lunch
14:00 – 18:00 Work Thru Show w/ Costume Pieces 1 Console 2 Deck 1 Head 1
1 Spot
1 Electrician
18:00 – 19:00 Dinner
19:00 – 22:00 Work Thru Show 1 Console 1 Deck 1 Head 1
Possible Marked Run-Thru w/ Costumes 1 Spot
Onsite full work Translator & supertitle operator to Translator & Surtitle Operator
day work with company
st
Day of 1 Performance
Time Activity Electricians Stagehands Sound Wardrobe
10:00 – 13:00 TBA Work Call TBA TBA TBA
13:00 – 14:00 TBA Lunch
14:00 – 18:30 Work notes 1 Console 1 Deck 1 Head 1 TBA
Brush-up Rehearsal 1 Spot
17:30 – 18:30 Dinner
18:30 Crew Call/ Presets 1 Console 1 Deck 1 Head 1
1 Spot
19:30 House Opens
20:00 Performance
Post-show Wash & Hang Dry Wardrobe
Onsite full Translator & supertitle operator to Translator & Surtitle Operator
work day work with company
Immediately Following Final Performance
Time Activity Electricians Stagehands Sound Wardrobe
90 minutes Pack & Load-out Company Equipment 2 2 1 1
Company load-out only. Does not include house strike & restore.
PLEASE NOTE: Due to the vocal demands of the performance, there must be no
more than one performance each day, and there must be a full day off after every 2
performances. Any variation of this schedule must be approved by the company.
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4. CONTRA – BASS
Presenter will provide a ¾ Contra Bass for the duration of the company residency. Such
instrument to be submitted for approval by Company musician no later than 6 weeks prior to
company arrival. Should an acceptable model not be available, Presenter shall be responsible
for shipping, freight and insurance expenses required to bring a contra-bass from New York
City, NY to venue. Contra-bass will be made available for company’s use at all times.
5. STAGE & SOFT GOODS
A) Stage
The piece takes place on an open stage with the theater's technical elements revealed.
Many different types of spaces may work for this. The company will consider spaces on a
case-by-case basis. Generally the stage should be at least 36’ (11m) wide and at least 20’
(6m) deep. The stage must be clean and cleared of any trash or debris before the arrival of
the company.
B) Stage Surface
The stage floor must be of wood construction, free of nails or gouges. The stage floor
should be black or stained a dark color, preferably with a worn look. A table and chair will
be dragged across the stage floor.
C) Soft Goods & Masking
Because the production takes place on an open stage any masking must typically be struck
or flown out of sight prior to the arrival of the Company. This includes legs, borders, tabs,
travelers, curtains, cycloramas, backdrops, and masking for offstage areas. The Company
may elect to use some masking to solve issues specifically associated with the theatre (exit
signs, light leaks, etc.).
The main house curtain will not be used.
6. SET AND PROPS
The Company travels with some hand props but the Presenter is required to provide the
majority of what constitutes the scenery for the show. Because the concept for the scenery is
a theatre stage that is in the middle of load-in or load-out, most of the scenic design is highly
adaptable using found equipment and objects at the theatre. There are, however, a number of
specific elements that the Presenter must provide.
A) General Set Dressing Typically the scenic designer will observe the light hang and
create the set dressing based upon the actual equipment used during a load-in at the
theatre. The Company would also like permission to search around the theater in search of
elements that may help to dress the stage. Typical items used in the set dressing include:
meat racks, road cases or boxes, cable racks, hampers, carts, dollies, ladders, lifts, pipe,
boom bases, mic stands, etc. Designer will also use many extra/unused lighting instruments
on the stage as dressing. Please provide the Company with general information about the
items available 6 weeks prior to the engagement.
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B) Items Used by Performers
The Presenter must provide the following items. Please provide the Company with photos &
descriptions of options for the items 6 weeks prior to the engagement.
Table: Wooden table approximately 6’ (1.8m) long by 30” (0.75m) wide by 30” (0.75m) tall.
The table must have felt furniture glides (one per leg) to allow it to slide on the floor. The table
must be strong enough to be dragged across the stage and stood upon by the performer. The
table does not have to be in excellent condition but must be structurally sound. . An
economical retail option that is readily available from multiple internet and local vendors is the
Jofran Kura Canyon 875-60 Solid Rubberwood Rectangle Table with Sabre Leg. The retail
version of this table must be distressed for stage use; Any table used may require structural
reinforcement to be appropriate for performance use. See Appendix I for photo of original
table.
Chair: A heavy, sturdy wooden chair. The chair must have furniture glides (one per leg) to
allow it to slide on the floor. The chair must be strong enough for a performer to sit on the
back with his legs on the seat, as well as stand on the seat. The chair does not have to be in
excellent condition as long as it is structurally sound. See Appendix I for photo of original
chair.
Ghost Light: A typical theatrical ghost light, outfitted with a warm (3000K color temperature)
compact fluorescent bulb. The ghost light is controlled through a dimmer from the lighting
console and is reflected in the lighting paperwork. See Appendix I for photo of original
ghost light.
Bucket/ Pail: A clean, water-tight, large bucket or pail, preferably metal. The pail will hold
water that the performer uses to run through his hair. The pail does not have to be in
excellent condition as long as the inside has been thoroughly cleaned and has no leaks. See
Appendix I for photo of original pail.
Stool: Tall stool for musician, preferably with back, preferably black.
C) Consumables
The following consumable props must be provided:
(1) empty paper or foam coffee cup from local donut shop or coffee shop
(1) small paper bag from local donut shop or coffee shop
(1) current edition of local working-class newspaper
(1) plain cake donut/ local pastry (NEW EACH PERFORMANCE/ DRESS REHEARSAL)
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6 SOUND
A) PA System
The Presenter must provide a fully functioning sound system. The Company will make best
efforts to utilize the house sound system and repertory setup, however, additional speaker
locations will be required. The Company will make best efforts to use the theatre inventory for
additional speakers, but some equipment may need to be rented. The Company will provide
plans showing specific locations of speakers approximately 4 weeks before load-in.
Minimum Requirements:
- Left, right, center, and subwoofer channels capable of producing concert-level sound with
even, tonally balanced coverage of entire audience, duplicated as necessary for mezzanine &
balconies. Meyer, d&b, L’acoustics, or EAW preferred. (4 channels)
- Overstage: Left & right channels hung midstage. Minimum speaker type: Meyer UPA, EAW
JF200, d&b E12, etc. (2 channels)
- Onstage: upstage left & in the stage right wing. Minimum speaker type: Meyer UPM,
EAW JF80, d&b E3, etc. (2 channels)
- Speaker hung or on stand in location to be determined onsite for miltone drum
reinforcement. Minimum speaker type: Meyer UPM, EAW JF80, d&b E3, etc. (1 channel)
In addition the following is strongly recommended and highly desirable:
- Left & right surround (side) channels, duplicated as necessary for mezzanine &
balconies. Minimum speaker type: Meyer UPM, EAW JF 60, d&b E0, etc. (2 channels)
- Left & right rear channels, duplicated as necessary for mezzanine & balconies. Minimum
speaker type: Meyer UPM, EAW JF 60, d&b E0, etc. (2 channels)
B) Console & Mix Position
The Company requires a sound mix position in the house and not in any kind of booth or
behind glass. Preferably this position will be located in the rear-center of the house and not be
beneath any balconies, overhangs or obstructions. The position must be big enough for the
sound console, integral delays & EQ, processors, and the Company’s laptop & sound interface.
The Presenter must provide the following:
- (1) Professional Audio mixing console with 100mm faders, a minimum of (8)
auxes and (8) groups and 4-band parametric EQ. Yamaha CL or QL series
preferred.
- Matrixing per venue system requirements. We would like an individual output for each delay
or fill system in the venue.
- (8) cables to bring aux sends from house console (connector TBD by venue) to Company
audio interface (TRS)
- (8) cables to return line level outputs from Company audio interface (TRS) to house console
(connector TBD by venue)
- An XLR dry line between the mix position and stage management position.
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C) Wireless Inputs
Presenter must supply three (3) channels (2 active & 1 spare) of professional quality wireless
body pack transmitters and receivers that are fully compliant with local radio regulations. The
presenter must also supply two (2) adapters for the transmitters to microdot connections to
accommodate the Company’s microphone. DPA 4061
In addition, for technical rehearsals, please supply one wireless handheld mic to be used on
spare channel as a god mic during rehearsals. During each rehearsal and performance the
Presenter must provide NEW batteries for all wireless devices.
If the presenter is organizing any talkbacks, wired or wireless microphones should be provided
for that as well, we prefer not to use the company 4061 for talkbacks.
D) Musician Inputs
The production includes a contra-bassist. The position of the bassist in the space will be unique
to each venue. The Presenter must provide the following at the bass position:
- (1) 8-channel input snake (or 8 channels of input) connected to the sound console
- (1) 20A circuit with 4 outlets, must provide adapters for US (120v) or AU (220v) plugs
In addition, please provide (1) high quality cardioid small diaphragm condenser mic (SM81,
KM184, C480 w/ck61) on low boom stand connected to the sound console. This mic is for the
milltone drum, which is played by the musician in a separate location specific to each venue.
E) Intercom
The Presenter must provide a professional full-duplex single-channel intercom system to the
following locations:
• Stage Manager (headset)**
• Lighting Supervisor (headset)**
• Light Board Operator (headset)
• Followspot Operator (headset)
• Sound Board Operator (handset)
• Deck Stagehand (headset, wireless preferred)
**Please note the stage manager and lighting director will be at the tech table in the audience
for cueing
& rehearsals and in control booths for performances.
F) Company Sound Equipment.
The company will be travelling with:
- Macbook Pro computer running Q-Lab
- M13 foot-pedal effects system to be used by the bassist
- Beige 4061 capsule-style microphone for actor
- C411 PP Contact Mic
- Roland multi channel audio interface
- DPA 4099 B microphone for bass
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G) Miscellaneous
The Presenter must provide the following:
- Infrared camera, emitter(s) and monitor with shot of the stage for use by the Stage
Manager at the tech table during rehearsals and in a FOH control booth for performances.
- Backstage paging system for use by the Stage Manager located at the tech table in the
audience during rehearsals and in an FOH control booth for the show.
- Audio monitor with adjustable volume control for use by the Stage Manager at the FOH
control booth during the show. This monitor should have a general ambient feed as
opposed to a show feed from the sound console, as some of the show is not reinforced
with sound.
- Headphone amplifier and dedicated feed for subtitle operator fed directly from audio console.
7. LIGHTING
The Company does not travel with any lighting equipment or color media. The Company will
provide the Presenter with a light plot and hanging schedule indicating all lighting locations.
The Presenter must provide a fully operating lighting system, assembled, hung, circuited,
colored and tested as specified in the light plot and other supporting paperwork. Any
substitution of equipment or any change in placement of equipment must be approved by the
Lighting Supervisor for the Company.
The Company will make best efforts to work within the Presenter's available inventory,
however certain rentals may be necessary. A specific light plot will be provided for the venue
approximately 4 weeks before load-in. For a GENERIC version of the plot please see
Appendix II.
A) Lighting Console:
The Presenter must provide:
- An Electronic Theater Controls (ETC) Ion, EOS, Gio, or Element Lighting Console. Any
substitution of another lighting console will require an ADDITIONAL full day of technical
rehearsal beyond what is listed in Article 3: WORK SCHEDULE.
- Remote viewing interface with monitors at the tech table in the house for all rehearsals and
cueing sessions.
- A highly experienced English-speaking lighting console programmer/ operator who is
familiar with all aspects of the console operation. The company’s lighting director does not
typically run the board, however they may elect to operate the console during performances.
B) Lighting System:
The specifics below are based upon the generic light plot in Appendix II and are to be used as
a guidelines for the lighting system requirements to be provided by the Presenter:
Positions:
(9) overstage electric pipes, (2) FOH box booms, (1) FOH cove, (1) FOH balcony rail, (10)
15’ booms
(2) apron booms @ 7’ above stage deck, (1) 21’ strip light boom
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Dimmers:
(130) total: (100) at 1.2k and (30) at 2.4k
Instrumentation:
(1) 50° Source Four ERS (Profile) @ 575w
(43) 36° Source Four ERS (Profile) @ 575w
(10) 26° Source Four ERS (Profile) @ 575w
(7) 19° Source Four ERS (Profile) @ 575w
(12) 14° Source Four ERS (Profile) @ 575w
(10) 10° Source Four ERS (Profile) @ 575w
(3) 5° Source Four ERS (Profile) @ 575w
(10) 8” Fresnel @ 2k
(5) 3” ARRI Junior 300 Plus Fresnel @ 300w
(26) PAR 64 MFL @ 1k or Source Four PAR WFL @ 575w
(6) PAR 64 MFL @ 1k
(16) PAR 64 NSP @ 1k or Source Four PAR NSP @ 575w
(8) 3- cell asymmetrical cyc lights or (24) single cell asymmetrical cyc lights @ 1k
(3) 18” Scoops @ 1k
(1) Theatrical Ghost Light with warm (3000K) compact fluorescent bulb
(10) Source Four ERS (Profile) to be hung as non functioning dummy units at top of
onstage boom
Accessories:
(6) Drop-in Iris
(6) Wybron 10” Coloram II Color Scrollers + 1 Spare
(1) MDG Atmosphere Hazer
(1) City Theatrical Followspot kit (Handle, Iris, & Counterweighted Yoke)
(1) Box Fan on Dimmer for Hazer
C) Color Scrollers:
The Presenter must provide (6) 10” Wybron Coloram II Color Scrollers for use in the show,
plus (1) spare unit and all necessary power supplies, DMX routers, and cable for the
Scrollers’ proper functioning. The Scrollers mount on (6) 8” 2k Fresnels hung on a single
pipe. The Company will provide the custom gel strings for the Scrollers (this is the only
color media the company provides). PLEASE DISCUSS WITH COMPANY. IF THIS
SPECIFIC MODEL NOT AVAILABLE ACCEPTABLE SUBSITUTIONS INCLUDE CXI
COLOR FADERS; PROFESSIONAL THEATRICAL MOVING LIGHTS WITH FULL
COLOR MIXING AND FULL BEAM CAPABILITIES; AND PROFESSIONAL THEATRICAL
LED FIXTURES WITH COHESIVE BEAM OPTICS AND PRE-LENS COLOR MIXING.
D) Followspot:
The production requires an incandescent ETC Source Four followspot controlled by
dimmer via the lighting console. The followspot is operated continuously throughout
the 90 minute show, so a properly insulated followspot handle and a followspot yoke
retrofit kit (City Theatrical or similar) are required, as well as a drop-in iris.Arc-source
followspots are not acceptable. The followspot is located in a high booth or FOH catwalk
position. Additional counterweight may be required for proper operation if a 10-degree or 5-
degree barrel is being used (long throw distances).
A highly experienced English-speaking followspot operator is required for all rehearsals and
performances. The followspot gets very hot and and some pickups may be difficult at long
distances, so heat-resistant gloves and a followspot sight should be provided to the operator.
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E) Grid Lights:
The production requires (11) lights to be placed as far up as possible above the playing
space, typically above the theatre grid. (6) of the lights are PARS that can be mounted directly
on the grid surface (if possible) pointing straight down. The (4) 2k Fresnels and the (1) Source
Four must be hung in a way that allows the lights to be freely focused – typically mounted on
grid stands, on booms in the grid, or beam- clamped to overheard steel. Please discuss any
complications in hanging the grid lights with the Company Lighting Supervisor as soon as
possible.
F) Hazer:
The production requires use of a MDG Atmosphere Hazer, to be controlled via DMX
interface. This hazer requires the use of haze fluid as well as a cylinder of pressurized carbon
dioxide equipped with a regulator. The Presenter must provide the hazer, DMX interface,
fluid, and carbon dioxide. Placement of the hazer will depend upon air flow in the theatre.
G) Cue Lights:
- The company travels with a battery powered Q-light for sound. Please provide 150’ of XLR
cable to sound position.
- A cue light onstage for the Mr. O’Hare is useful if possible.
- The stage manager will control the cue lights from the tech table in the audience during
rehearsals and from an FOH control booth during performances.
H) Miscellaneous:
A personnel lift or tall ladder with wheels must be provided for the focus of overhead lighting
units. The lift or ladder must allow for safe and comfortable focusing for electrics at 21’ to 27’
(6.5m to 8m). Any ladders, lifts, or harnesses for accessing FOH positions must be provided.
FOH and overstage may be focused at the same time.
Provide all color media as specified on light plot and drop all color prior to focus.
All units should include lamp, C-clamp, color frame and safety cable. Please provide a suitable
numbers of spare lamps. Half hats, top hats, barn doors, Cinefoil, gaffers tape, and clothes
pins/ binder clips should be in supply and ready for use as needed.
8. TECH TABLE/ STAGE MANAGER
The Presenter must provide a tech table in the audience for the Lighting Supervisor, Stage
Manager, and Director during rehearsals. The following must be provided at the tech table:
- Remote monitor(s) for the lighting console as specified in Article 7: Lighting.
- Monitor for infrared camera indicated in Article 6: Sound.
- Cue light control for the cue lights indicated in Article 7: Lighting.
- (2) intercom stations with headsets
- (1) God mic
- (3) Little lights or desk lamps
- (2) “Butt boards” or similar apparatus for making sitting in theatre seats at tech table
comfortable
The stage manager will call the performance from a front-of house calling position,
typically a control booth. Cue light control, infrared monitor, and stage management
intercom will move to FOH calling position after Dress Rehearsal. The booth must also have
an audio monitor as specified in Article 6: Sound.
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9. DRESSING ROOMS & PRODUCTION OFFICE
The Presenter is to provide:
Three (3) comfortable soloist dressing rooms (actor, musician, director) each equipped with a
couch or small bed and suitable lighting, counter-space, and mirror to apply makeup. The
Musician’s dressing room should have sufficient space for storage and rehearsal of the
contra-bass.
One (1) Large production office or chorus dressing room equipped with internet access and
immediate access to a fax machine, photocopier, and printer for the Company’s use. If this
room is located where cellular phone reception is not possible landlines may need to be
installed.
For each performance and rehearsal please provide each performer in his dressing room
with:
1 bath towel and 1 hand towel
1 bar of soap
2 one-liter bottles of non-carbonated water
1 box of facial tissues (1 for entire
run) additional hand towels for the
soloist room
Dressing rooms must be available for the exclusive use of the Company from the beginning of
the load-in until the end of the load-out following the last performance. Bathrooms must not
be accessible to the public They must have tables, chairs, racks to hang costumes and
mirrors with make-up lights. They must have direct access to toilets, sinks, showers, hot and
cold running water. All dressing rooms must be clean and near to the stage.
10. WARDROBE
The presenter is responsible to provide the following for the preparation of costumes:
A skilled and experienced wardrobe supervisor to clean and prepare the two (2) costumes for
each rehearsal and performance as well as to make small repairs as needed.
An adequate wardrobe work space equipped with a wardrobe rack, one (1) iron and ironing
board, one (1) steamer, and one (1) electric fan.
Laundry facilities in the theatre (washing machine and dryer). If laundry facilities are not
available at the theater, the Presenter must make arrangements for laundry to be done
overnight and returned to the theater on the schedule provided by Company staff. The
Presenter shall be responsible for laundry expenses.
Access to a sewing machine if necessary.
Access to same-day dry-cleaning services if necessary.
Dry Cleaning to be provided by presenter every four (4) performances.
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/2020
11. TRANSLATION AND SUPERTITLES
In non-English speaking countries a simultaneous translation of the production’s text is
required. The Presenter must execute a full translation of the text from English into the local
language for review by the Director at least six weeks prior to the performance. The translation
must be created from review of the video of the performances as well as from the written
script, as specifics of the pacing of the text can only be understood by a deep understanding of
the live performance.
The presenter must provide a supertitle system for presenting the translation that allows for
the audience to view Mr. O’Hare and the text at the same time. This means that the supertitle
screen must be placed upstage and hung relatively low so the audience does not have to shift
their eyes to see the performer and the text simultaneously. A typical supertitle setup
presenting text at the top of the proscenium or on the sides of the stage is NOT
acceptable for this production even though it may be the venue standard for foreign
language presentations. Please see Appendix III for photos of previous successful
supertitle screens.
The exact size and position of the screen is dependent on the specific stage layout, local
language, and other factors. In general, the minimum screen size is 2’ (0.75m) high by 13’
(4m) wide accommodating 2 lines of text. The screen could be shorter, but it would have to be
taller to be able to accommodate the same amount of text. The screen must be hung at least
5’ (1.5m) downstage of the back wall of the stage at a height of 10’ to 18’ (3m – 5.5m) from the
floor depending on sightlines.
The supertitles must be white text on a black background. Due to the lighting design of
the show, a large-format LED screen is ideal. If presented using projection, a minimum
14,000 lumen projector is required.
During all rehearsals and presentations, the presenter must provide a bilingual operator for the
translation system. It is preferable if the same person who created the translation can operate
the system during the performances.
Some portions of the production require translations that are specific to the venue’s location.
Presenter will also provide bilingual (English and local language) translator, to work with the
company prior to and during engagement to ensure translations represent the local and
regional meanings intended by the Company.
PLEASE NOTE: The company views the translator as a genuine artistic collaborator and
will work closely with the translator as the translation is developed and during the
rehearsals prior to the first performance.
12. REHEARSAL STUDIO
During day one of the technical set-up, before the stage is available to the performers, the
company may require a rehearsal studio. Exact times will be coordinated between the
Company and Presenter. The studio should be at least 8m (26') by 6m (20') and be equipped
with a small rehearsal sound system.
14 of 16T
An Iliad Technical Rider v5.5 as of 4/20/2020
/2020
13. MISCELLANEOUS
A) Late Seating
All late seating will be at the discretion of the company and must be at the back of the theatre.
B) Security
Security must be provided at all entrances to the backstage area. Security must
prevent audience members from approaching the stage. A secure storage area is to
be provided for the Company’s equipment at all times while it is in the theater.
C) Guests
Guests will be allowed backstage only with the express permission of the Company. The
Company will provide a backstage guest list or accompany guests backstage. Please discuss
all security arrangements with the Company.
D) Temperature
The temperature of the stage, studio and the dressing rooms must be between 70 –74° F. (22-
24°C) while the performers are in the theatre.
E) Hospitality
Please provide the following catering backstage at all times that production staff and/or
performers are working:
Hot coffee & tea
Milk, cream, sugar, lemons
Fresh fruit juice, unsweetened iced tea, sparkling water
Bottled water
Fresh fruit, vegetables & nuts
Granola bars, cookies, pita & hummus, various snacks
Ice
When work requires that the company's staff work over meal breaks food must be provided.
Specific requirements will be determined by the production manager.
F) Local Ground Transportation
Presenter shall provide an escort to meet all arriving artists at the airport/train station or place of
arrival and escort them to their housing. Presenter shall also provide daily transportation to/from
the venue unless accommodations are within .5 miles of the venue.
G) Humidifier
The Presenter is required to provide a humidifier in Mr. O’Hare’s dressing room to be refilled with
bottled water as necessary. This is essential to his vocal health for this very taxing performace.
H) Communication
Presenter will provide company with free access to wifi at performance venue and
accommodations for the duration of the engagement. If free wifi access is unavailable, Presenter
will provide two local cellphones to be used for communication between company members, and
local venue personnel.
I) Accommodations
Presenter will house company in a minimum international 4 star hotel or equivalent apartment.
Each company member will have a private hotel room or apartment. Access to free wifi required.
15 of 16T
An Iliad Technical Rider v5.5 as of 4/20/2020
/2020
14. SAFETY
All of the company's equipment has been manufactured to safety and fire prevention standards
of New York, NY. If alterations to the company's equipment is required to meet local standard
those alterations are completely at the expense of the presenter. In addition if it is required to
restore the company's equipment to its original condition then any resulting costs will also be
the presenters.
15. COMPANY EQUIPMENT
The Company’s equipment typically travels in checked baggage. Sufficient transportation
arrangements must be made to take this equipment from the Company’s arrival point (airport,
train station, etc.) directly to the theatre. Arrangements for storage at the theatre must be made
if the Company’s arrival is prior to the start of load-in. The Presenter must provide secure
storage for any Company equipment that is shipped ahead of the Company’s arrival.
Agreed to by the Presenter and the Company as noted. This document serves as an integral
part of the Agreement between the Presenter and the Company.
FOR THE PRESENTER FOR THE COMPANY
Name_____________________________ Name____________________________
Organization________________________ Organization_______________________
Title______________________________ Title______________________________
Signature__________________________ Signature__________________________
Date________________________________ Date______________________________
16 of 16An Iliad Technical Rider, V5.4 as of 4/23/2020
APPENDIX I: PHOTOS
Picture of Stage with Set Dressing
Original Table Original Chair
Ghost Light Bucket/Pail
Ideally 24”-30” (61cm – 76cm) in diameterAn Iliad Technical Rider, v2.0 as of 1/28/2014
APPENDIX III: LIGHT PLOT
KEY
CL
DIST CONTENTS TRIM
Boston Boston
Color 145 145 145 145 144 144 144 143 142 142 142 141 141 141 141 Plaster Deck
Unit # ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003 ©Steve Shelley 2003
15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
10 ELECTRIC 10 ELECTRIC US Wall 10 ELECTRIC +25'-6"
L203+R119
NSP NSP NSP NSP NSP NSP NSP NSP NSP NSP NSP NSP NSP NSP NSP
Channel Wybron 10"
Shelley 2003
©Steve
26
21 1 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202
Coloram II
6'-0" 6'-0" 7'-6"
Drop-in Iris (TYP.) (TYP.) (TYP.)
105 106 107 3'-0" 104 103 102
6 5 (TYP.) 2 1
9 ELECTRIC 2k 2k
4 3
2k 2k
9 ELECTRIC 31'-3" 9 ELECTRIC +21'-9"
2k 2k
Scroll Scroll Scroll Scroll
Shelley 2003
©Steve 29 29 27 27 Scroll 25 25 23 24 24 Scroll 26 26 28 28
5° Source 4 575w
5
13 12 11 10 9 8 7 6 5 4 3 2 1
8 ELECTRIC 8 ELECTRIC 29'-3" 8 ELECTRIC +21'-9"
Shelley 2003
MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL
©Steve
10° Source 4 575w
10
L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202
22 22 20 20 18 18 16 17 17 19 19 21 21
13 12 11 10 9 8 7 6 5 4 3 2 1
Shelley 2003
©Steve
19° Source 4 575w 7 ELECTRIC 7 ELECTRIC 27'-3" 7 ELECTRIC +22'-6"
19
MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL MFL
L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202 L202
162 160 161
58 55
L203+R119
L203+R119
Shelley 2003
26° Source 4 575w
©Steve
26
4 3 2
6 ELECTRIC 6 ELECTRIC +22'-6"
Shelley 2003
6 ELECTRIC 25'-3"
©Steve
5 1
26
26
Shelley 2003
©Steve
clear clear clear
7'-0" 10'-0"
Shelley 2003
36° Source 4 575w
©Steve
36
(TYP.) (TYP.)
Shelley 2003
50° Source 4 575w
©Steve
50
8" Colortran Fresnel 2kw
2k
6" Colortran Fresnel 1kw
1k
6'-0" 11'-0"
(TYP.) 109 (TYP.) 108
3" Fresnel (Arri) 300w 52 49
©Steve
©Steve
Shelley 2003
Shelley 2003
300
L203+R119
L203+R119
3 2
5 ELECTRIC 5 ELECTRIC +22'-6"
Shelley 2003
5 ELECTRIC
©Steve
4 1 17'-6"
26
26
36 36
Shelley 2003
©Steve
G325+R132 G325+R132
PAR 64 FFR (MFL) 1kw
MFL
NSP
Source 4 PAR NSP 575w
©Steve Shelley 2003
FOR MUSICIAN @
MILTONE ONSTAGE -
Source 4 PAR MFL 575w
MFL
MOVE PER MILTONE
©Steve Shelley 2003
PLACEMENT
6'-0" 11'-0" 17'-0"
*
WFL
Source 4 PAR WFL 575w
©Steve Shelley 2003
195
46 43
©Steve
L203+R119
L203+R119
Shelley 2003
2
4 ELECTRIC 10'-9" 4 ELECTRIC +22'-6"
Shelley 2003
4 ELECTRIC
©Steve
3 1
26
26
18" scoop 1kw 19
Shelley 2003
©Steve
L203+R119
L&E Broad Cyc (1 cell) 1kw
FOR MUSICIAN @
SR APRON -
MOVE PER
MUSICIAN
L&E Broad Cyc (3 cell) 1kw PLACEMENT
16'-0" 3'-3" 3'-3"
Ghostlight
HANG AS FAR
OFFSTAGE AS *
191
*
193
POSSIBLE L203+R119 198
169
©Steve
©Steve
26
Shelley 2003
Shelley 2003
©Steve Shelley 2003
L203+R119
4 3 1
3 ELECTRIC 4'-9" 3 ELECTRIC +22'-6"
Shelley 2003
3 ELECTRIC
©Steve
19
5 R132
NSP
MDG Atmosphere Hazer 2
10
19 19 R132 R132 R132 R132
clear
CHAIR TABLE
©Steve
11
Shelley 2003
40 L203+R119 L161+R119
50 26 LEG)
(SL 19 36 37
L203+R119
L203+R119
(SR LEG)
2 ELECTRIC 2 ELECTRIC +22'-6"
Shelley 2003
2 ELECTRIC 3'-3"
©Steve
26
7 1
26
Wybron Coloram II Scroller 10" 6 4
WARS
3 5 2 Shelley 2003
©Steve
©Steve
©Steve
©Steve
©Steve
©Steve
L119+R119 L119+R119
Shelley 2003
Shelley 2003
Shelley 2003
Shelley 2003
Shelley 2003
L119+R119 L119+R119
(SPLIT)
36 36 177 175 173 174 176 36 36
drop in iris 1 ELECTRIC 1 ELECTRIC 1'-9" 1 ELECTRIC +21'-0"
4 3 2 1
15'-0" 1'-0"1'-0"
©Steve
©Steve
©Steve
©Steve
Shelley 2003
Shelley 2003
Shelley 2003
Shelley 2003
138 140 (TYP.) 139 137
(TYP.) (TYP.)
19'-0"
(TYP.)
BASS
PLAYER
SR BOX BOOM SL BOX BOOM
Boston Top Unit: Boston Top Unit:
19'-6" from Plaster 19'-6" from Plaster
28'-0" above deck 28'-0" above deck
30'-0" from CL 30'-0" from CL
(45' throw to CL @ Plaster in Boston) (45' throw to CL @ Plaster in Boston)
L2
03
+R 9
11 11
14 9
L2 03
+R
233
14
01 L2
+R 9 232
14 11
9 +R
11
01
8 L2
14
L2 5
L2 01
03
+R 7 216 +R
9
14 11
9
19 11
9 211 4 +R
11
33 L2 03
14
01 L2
+R 6 115 11
9 32
14 11
9 +R
Shelley 2003
01
©Steve
5 L2
01
+R
L2
14 3
L2 116 14 11
9
01 4 111 9
+R
11 2 11
14 9 01
+R
118 L2
01
+R 3 117 L2
14 113
14 11
9
2 L203 1
1 119 5
L203+R119
19
BALCONY RAIL BALCONY RAIL
1
2 Boston Center Unit:
©Steve
©Steve
Shelley 2003
Shelley 2003
47'-6" from Plaster
171 170
19'-0" above deck
(50' throw to Plaster in Boston)
L203+R119
5
L203+R119 L203+R119 L203+R119 L203+R119 L203+R119 L161+R119 L203+R119 L203+R119 L203+R119
10 10 10 10 10 10 10 10 10
COVE COVE
10 9 8 7 6 5 4 3 2 1 Boston Center Unit:
©Steve
©Steve
©Steve
©Steve
©Steve
©Steve
©Steve
©Steve
©Steve
Shelley 2003
Shelley 2003
Shelley 2003
Shelley 2003
Shelley 2003
Shelley 2003
©Steve
Shelley 2003
Shelley 2003
Shelley 2003
Shelley 2003
47'-0" from Plaster
8 3 165 1 6 168 194 192 2 7 52'-0" above deck
4'-6" FOR MUSICIAN @
* * (68' throw to Plaster in Boston)
SR APRON -
MOVE PER
MUSICIAN
PLACEMENT
FOLLOW SPOT BOOTH
OVERHEAD and FOH
L203+R132
5 Boston:
83'-0" from Plaster
Theater
City Theatrical 46'-0" above deck City, State
200 Source 4 (90' throw to Plaster in Boston)
1
Followspot Rig
An Iliad
©Steve
Shelley 2003
Light Plot
Lighting Supervisor/ Production Manager: Davison Scandrett
CL LIGHTING DESIGNER
Scott Zielinski
+1 (646) 645-1677
SCALE: 1/4"=1'-0" DATE: 15 January 2014
davisonscandrett@mac.com
REV: Tour Basic v2.0An Iliad Technical Rider, v2.0 as of 1/28/2014
+16'-0" +16'-0"
©Steve
Shelley 2003
Ne A A Ne
Shelley 2003
©Steve
36
36
r
ea
cl
ea
cl
r
+7'-0"
CL +7'-0"
+16'-0" ©Steve
Shelley 2003
+16'-0"
101 1 1
Shelley 2003
95
©Steve
©Steve
Shelley 2003
164
36
A
36
9
R
Ne
11
A
54
Ne
Shelley 2003
©Steve
+R
+R
©Steve
Shelley 2003
54
11
11
36
R
9
36
r
ea
cl
+3'-0"
ea
cl
+3'-0"
r
©Steve
Shelley 2003
2 10 2
89
Shelley 2003
83
©Steve
L202+R132 +1'-3"
+1'-3"
2
GRID
36
L1
36
13
61
+R
©Steve
Shelley 2003
+R
61
3
13
3
L1
71
Shelley 2003
77
©Steve
2
36
L2
36
2
13
81
+R
+R
81
13
L2
2
5 BOOM R 5 BOOM L +7'-0"
+7'-0" Center of boom approx
+16'-0" Center of boom approx +16'-0"
©Steve
Shelley 2003
4' offstage of Prosc Edge
4' offstage of Prosc Edge
100 1 1
Shelley 2003
94
©Steve
©Steve
Shelley 2003
A 10'-0" 10'-0"
Ne
36
36
9
A
R
PLACEMENT FOR HAZER & FAN VARIES 400 Ne
Shelley 2003
11
54
©Steve
+R
+R
A 1
54
11
36
DEPENDING ON AIR FLOW IN THEATRE
R
36
9
r
ea
cl
ea
cl
201 +3'-0"
Box Fan for Hazer
r
+3'-0" L202 L202
MFL MFL
©Steve
Shelley 2003
88 2 10 9 2
Shelley 2003
82
©Steve
+1'-3"
+1'-3" 130 130
2
36
L1
36
13
61
+R
©Steve
GRID GRID
Shelley 2003
+R
61
3
13
3
L1
70
Shelley 2003
76
©Steve
2
36
L2
36
2
13
81
+R
+R
81
13
L2
2
+7'-0"
4 BOOM R 4 BOOM L +7'-0"
+16'-0" Center of boom approx +16'-0"
Center of boom approx
4' offstage of Prosc Edge
©Steve
Shelley 2003
4' offstage of Prosc Edge
99 1 1 93
Shelley 2003
©Steve
©Steve
Shelley 2003
36
A
36
A
9
R
Shelley 2003
Ne Ne
11
54
©Steve
+R
+R
54
11
36
36
R
9
cl
r
ea
ea
+3'-0"
cl
r
+3'-0"
©Steve
Shelley 2003
87 2 2
Shelley 2003
81
©Steve
+1'-3"
+1'-3"
2
36
L1
36
13
10'-0" 10'-0"
61
+R
+R
©Steve
Shelley 2003
61
13
3
L1
69
Shelley 2003
75 3
©Steve
2
L2
36
2
36
13
81
L202 L202
+R
+R
MFL MFL
81
13
L2
2
+7'-0"
3 BOOM R 8 7 3 BOOM L +21'-0"
4
+7'-0"
10
R
+16'-0" Center of boom approx 129 129 Center of boom approx
4+
©Steve
+16'-0"
01
Shelley 2003
4' offstage of Prosc Edge 4' offstage of Prosc Edge
GRID GRID 1
4R
92
Shelley 2003
1
9+
©Steve
10
98
T11
R
A1
4+
©Steve
Shelley 2003
LH
410
36
R
36
A
9
54
R+R
Ne
10
11
A 156
Shelley 2003
Ne
+R
©Steve
4+61
+R
A2
11
10L1
54
9
36
R
4R
36
148
104+
r
ea
cl
A3
R32
+3'-0"
ea
cl
4+G
+3'-0"
r
01
152
4R
9+
10
T11
R
©Steve
Shelley 2003
B1
4+
2
LH
80
Shelley 2003
2
410
86
©Steve
+1'-3"
+R
10
156
61R
B2
L14+
+1'-3"
L1
36
2
36
10
13
61
4R
+R
+R
148
104+
©Steve
Shelley 2003
61
13
R32
3 B3
Shelley 2003
68
L1
2
3
4+G
©Steve
74
01
152
4R
9+
L2
36
10
2
36
T11
81
R
13
C1
4+
+R
+R
LH
410
13
81
R+R
10
2
155
L2
4+61
C2
10L1
2 BOOM L
4R
+7'-0"
2 BOOM R 147
104+
+7'-0" C3
R32
Center of boom approx
4+G
Center of boom approx 10'-0" 10'-0"
01
4' offstage of Prosc Edge
©Steve
151
Shelley 2003
4R
4' offstage of Prosc Edge
9+
10
97 1 1
Shelley 2003
91
T11
R
©Steve
GRID D1
4+
GRID
LH
410
+R
10
36
36
placement TBD
9
R
155
11
54
61R
placement TBD D2
4+
+R
L202 L202
+R
L1
10
L202 L202
54
11
MFL MFL
4R
L202 L202
R
9
147
104+
2k 2k D3
R32
2k 2k +3'-0"
4+G
+3'-0" 4 3
01
6 5 2 1 151
4R
9+
10
T11
R
128 128 E1
©Steve
133 134
4+
Shelley 2003
LH
132 131
410
85 2 GRID GRID 2
Shelley 2003
79
+R
10
©Steve
154
61R
+1'-3" E2
L14+
+1'-3"
10
2
36
L1
36
R
13
CHAIR TABLE
61
146
4+
+R
3000K
©Steve
1 BOOM L
Shelley 2003
+R
32
E3
61
(SL LEG)
G
13
3 (SR LEG) 3
L1
73 67
Shelley 2003
163
2
©Steve
Center of boom approx 150
1 4' offstage of Prosc Edge
2
36
L2
36
13
81
WARS
+R
+R
81
(SPLIT) +7'-0"
13
L2
ghostlight
2
w/compact fluorescent
1 BOOM R 3000K color temp
Center of boom approx
4' offstage of Prosc Edge
TORM BOOM L
Center of boom approx +7'-0"
+7'-0" 2'-6" offstage of Prosc Edge
©Steve
Shelley 2003
96 1 1 90
Shelley 2003
©Steve
36
36
9
R
11
54
+R
+R
54
11
R
9
+3'-0" +3'-0"
©Steve
Shelley 2003
84 2 2
Shelley 2003
78
©Steve
+1'-3" BASS +1'-3"
2
36
L1
36
13
61
PLAYER
+R
©Steve
Shelley 2003
+R
61
13
3 3
L1
72 66
Shelley 2003
2
©Steve
2
36
L2
36
13
81
KEY
+R
+R
81
13
L2
2
9'-6" 4'-9" 3'-6"
APRON BOOM R L202 APRON BOOM L
300
Boom on floor offstage of Apron 4 Boom on floor offstage of Apron
Color ALL HEIGHTS TO STAGE FLOOR clear ALL HEIGHTS TO STAGE FLOOR
Unit #
300
127 A
L202 L202 L202
300 300 300
3 2 1 Ne
L203+R119
Channel Wybron 10"
Shelley 2003
©Steve
26
21 1 125 123 124
Coloram II
FOOT LIGHTS
Drop-in Iris cable and lights
should be messy!
Shelley 2003
©Steve
5° Source 4 575w
5
Shelley 2003
10° Source 4 575w
©Steve
10
Shelley 2003
19° Source 4 575w
©Steve
19
Shelley 2003
26° Source 4 575w
©Steve
26
Shelley 2003
36° Source 4 575w
©Steve
36
Shelley 2003
50° Source 4 575w
©Steve
50
8" Colortran Fresnel 2kw
2k
6" Colortran Fresnel 1kw
1k
3" Fresnel (Arri) 300w
300
PAR 64 FFR (MFL) 1kw
MFL
NSP
Source 4 PAR NSP 575w
©Steve Shelley 2003
Source 4 PAR MFL 575w
MFL
©Steve Shelley 2003
WFL
Source 4 PAR WFL 575w
©Steve Shelley 2003
18" scoop 1kw
L&E Broad Cyc (1 cell) 1kw
L&E Broad Cyc (3 cell) 1kw
FLOOR, BOOMS, GRID
Ghostlight
Theater
MDG Atmosphere Hazer City, State
Wybron Coloram II Scroller 10" An Iliad
Light Plot
drop in iris
CL
Lighting Supervisor/ Production Manager: Davison Scandrett
LIGHTING DESIGNER +1 (646) 645-1677 davisonscandrett@mac.com
Scott Zielinski
SCALE: 1/4"=1'-0" DATE: 15 January 2014 REV: Tour Basic v2.0APPENDIX IV: SUPERTITLES SCREEN PHOTOS Front Projection:
LED Screen:
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