4th June 2018

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Akram Khan Company “XENOS” TECHNICAL RIDER

June 2018 Technical Manager

Tina Fagan technical@akramkhancompany.net

+44 (0) 7487 701235

Tour Manager Mashitah Omar

mashitah@akramkhancompany.net +44 (0) 781 775 1605

Touring Production Manager John Valente

john@valente.co.uk +44 (0) 7791 000332

Touring Stage Manager Marek Pomocki

marek.pomocki@gmail.com +48 695 695 250

Lighting Stéphane Dejours

stephane.dejours@gmail.com +33 6 70 85 59 31

Sound Julien Deloison

juldelson@gmail.com +33 6 03 37 22 25

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The following technical specification constitutes a contractual requirement. Failure to negotiate any change to the

following, except by mutual consent between the Presenter, the venue and Akram Khan Company at least four

weeks prior to the show date, will constitute a breach of contract leaving the promoter liable to pay all negotiated

fees to Akram Khan Company, who will be entitled to cancel any performance.

The company on tour: 14 people

Dancers: 1 Musicians: 5 Technicians: 5 Tour Manager: 1 Rehearsal Director: 1 Producer: 1

CONTENT

GENERAL INFORMATION ................................................................................................ 3 STAGING ........................................................................................................................... 4 LIGHTING ........................................................................................................................ 10 SOUND............................................................................................................................ 11 SPECIAL EFFECTS ........................................................................................................... 16 PROPS ............................................................................................................................. 17 COSTUMES ..................................................................................................................... 18 LOGISTICS ...................................................................................................................... 19 SCHEDULE ...................................................................................................................... 19

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GENERAL INFORMATION

• Running time is approximately 65 minutes • We would like to open the house 20 minutes before the beginning of the performance • Once the house is open to the public the Prologue will begin which forms a part of the performance and

includes 2 musicians performing on the stage while the public enter the auditorium. For this reason liaising with the AKC Stage Manager is important and can be done on arrival on the first build day

• The Prologue is not part of the performance time • Pine cones are dropped from the top of the set at the end of the show and for this reason we

recommend you hold the first 2 rows off sale, please contact the technical manager for more information • Stage temperature for all rehearsals & performances to be kept at a constant 22oC • Ice packs and first aid kit to be available at all times. • Absolutely NO drinks in the performance area • Absolutely NO pre-show announcements in the main performance space • There are some very heavy and big parts to the set; which will need careful handling. • If there is not a flat load dock a forklift truck will be required with 8 foot extensions. • The get out time is currently 6 hours (we hope to reduce this to 5 hours). If there is an option to do the

load out on the day following the last performance, and it doesn’t affect travel plans for the company, then this can be discussed.

• The venue stage technicians have very specific cues during the show, for this reason it is important we have the same crew for rehearsals and show, and the same team for the entire run. If this is not possible please talk to AKC technical manager

• There are fly cues in the performance, if flying is not possible in your venue then contact AKC technical manager to discuss alternative solutions

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STAGING The Xenos set weighs 6000kg The set of ‘XENOS’ (see Figure 1) consists the following main sections: A flat front surface area located downstage (painted plywood covered wooden floor frames), a rising sloped middle area (painted plywood covered wooden frames)”, a moveable, mechanical operated “scoop” on top of the slope, and a musician platform positioned upstage (scaffolding towers, with wooden staircase, and carpet/plywood covered scaffolding platform) The whole set is supported by a scaffolding support structure (see Figure 2) using the Layher connector system. The movable scoop (section “C” Figure 1) is connected via a hinge to section “B” and can be lifted and tilted by 110 degrees. (see Figure 3) shows the lowest and highest position of the movable “scoop” section. The scoop is moved via a mechanical drive shaft system powered by two electrical motors. The system is installed underneath the slope and will be operated by our production manager on tour. In addition we operate a manual winch, located underneath the musician platform, which is used to pull up ropes (and props attached to the ropes) over the slope (and scoop) to clear the performance area after the opening scene. The ropes are directed underneath the stage. Principle schematics see (see Figure 6)

WE REQUIRE • A Minimum playing area of 13m (depth) x 12m (Width) • The size of the stage can be reconfigured to 13.4m deep or 12.6m deep but always 12m wide. • This area needs to be a solid flat surface free from trap doors, NO RAKED STAGES. • The entire stage/floor is to be painted black. • It may be necessary to screw in to the stage, please advise if this is a problem • 1 x vacuum cleaner for the reset.

Height • Part of the set will consist of an elevated platform for the musicians. • Total height of the structure is 5.2m, and we require a clear working height of 6m, with flys/bars trimmed

at a maximum 8m, (see Figure 5) Power Supply

• Our set requires a 32A 3ø supply, 400- 415v three/tri phase, 50hz. • If your power supply is protected by RCD it must be set no less than 0.3A, this is from the guidelines of

the manufactures of our automated set • We also need enough 32a 3ø cable to run from your supply to the middle of the stage area.

Masking and stage cloths

• Full German masking up and down blacks • 3 x sets of black legs • 7 x black borders • 1 x full blacks, not pleated • 1 x black Gauze

WE BRING • All components and structural elements relating to our set. • AKC technicians only to operate the automated elements of the set. � • The total weight of the set is 6000kg see chart attached showing point and area loads�

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Figure 1: Basic Set construction, flat area (A) - down stage, rising sloped area (B), movable scoop (C), musician platform (D) – upstage

Figure 2: Scaffolding support structure

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Figure 3: Movable Scoop, A – lowest position, B – highest position (scoop not to scale)

Figure 4: Footprint – Set

14000

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Figure 5: Required Working Height

Figure 6: Winch System

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Figure 7: Load Distribution on Stage Floor

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Figure 8: Loads on Stage Floor (see Figure 7 for references)

POINTLOADS Load[kg] RefArea*[m2] [kg/m2]b1 a1 142 0.02 6307b1 a2 169 0.02 7493b2 a1 214 0.02 9531b2 a2 198 0.02 8788b3 a1 202 0.02 8996b3 a2 183 0.02 8113b4 a1 206 0.02 9151b4 a2 190 0.02 8438b5 a1 214 0.02 9531b5 a2 198 0.02 8788b6 a1 142 0.02 6307b6 a2 169 0.02 7493b1 a3 27 0.02 1197b2 a3 46 0.02 2026b3 a2 46 0.02 2026b4 a3 46 0.02 2026b5 a2 46 0.02 2026b6 a3 30 0.02 1312b1 a4 187 0.02 8295b2 a4 187 0.02 8295b3 a4 247 0.02 10961b4 a4 247 0.02 10961b5 a4 187 0.02 8295b6 a4 187 0.02 8295b1 a5 121 0.02 5378b2 a5 121 0.02 5378b3 a5 121 0.02 5378b4 a5 121 0.02 5378b5 a5 121 0.02 5378b6 a5 121 0.02 5378b1 a6 73 0.02 3240b2 a6 73 0.02 3240b3 a6 73 0.02 3240b4 a6 73 0.02 3240b5 a6 73 0.02 3240b6 a6 73 0.02 3240b1 a7 23 0.02 1020b2 a7 46 0.02 2040b3 a7 46 0.02 2040b4 a7 46 0.02 2040b5 a7 46 0.02 2040b6 a7 23 0.02 1020

AREALOADS Load[kg] Area**[m2] [kg/m2]Flooring 871 57 15

TOTAL[kg] 5968

SLOPESUPPORT

Positionb1,a8-b1,a9-b6,a8-b6,a9

Position

TOWERA

MUSICIANPLATFORMSUPPORT

TOWERB

WALKWAYSUPPORT

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LIGHTING Please provide the Technical Manager with an up to date DWG/VWX (CAD) plan of your venue, so that an adapted lighting and set plan may be made and sent to you prior to our arrival Equipment needed is as follows, for any substitutions please contact the Technical Manager

WE REQUIRE • 8 X 50° profiles (ETC Source 4) • 4 X 26° profiles (ETC Source 4) • 2 X 36° profiles (ETC Source 4) • 23 X CP62 par 64 Par-cans no Source 4 Par-cans • 15 X CP61 par 64 Par-cans no Source 4 Par-cans • 19 X CP60 par 64 Par-cans no Source 4 Par-cans • 6 X Clay Paky 1500 profile (alternatives would be VL3500) + 1 spare • Colour, Rosco64 X 20 Pars, Rosco367 X 14 Pars, Rosco86 X 23 Pars, Lee152 X 08 Profiles +10 Minuettes

Fresnel’s, Lee206 X 03 Profiles, Rosco388 X 03 Profiles, R119 X 15 Pars • Adequate equipment to focus (genie tower, tallescope) • A complete blackout onstage with minimal light leak from FOH. This will require switching off blue work

lights and masking emergency lighting. Please ensure that all licences and permissions are arranged beforehand. It is not acceptable to be told on the day of the show a full blackout is not possible.

• We would like to have complete control of the house lights via our lighting desk

WE BRING • 10 x Fresnels 500w • 6 x Tungsten bulbs • 1 x Festoon • 1 x Gramophone lamp • We tour our own lighting desk (ETC ION - 2 DMX outputs) to be placed on stage for focusing and in the

auditorium for the show, next to the sound. House lights should be controllable from the company desk

Note • Please note that it is essential that lighting control be placed in the auditorium for the performance as

they form part of our safety measures for the automated set.

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SOUND • The sound mixing position should be located in the audience area in order for the sound engineer to see

and hear the performance correctly. Our sound engineer will mix the sound. • It is absolutely not acceptable for the mixing position to be in a booth. • Please reserve a place in the audience area for our mixing position of minimum 3M wide and 2M deep. • A full list of the equipment provided by the venue must be sent to us. This list must be agreed with our

sound engineer. • It is the responsibility of the venue that the sound equipment, including all installation and rigging, is fully

functional upon arrival of the company. • Venues without a permanent or adequate sound system, should hire a sound system (see below) and

pass these specifications to a professional audio rental company. • Noisy air conditioning systems should be turned off for the duration of the performance, rehearsal and

sound check

WE REQUIRE PA: Line Array system stereo able to deliver 105 db a weighted SPL clean full range (subwoofers included) undistorted sound everywhere in the audience area, preferred are D&B, L-Acoustics, Meyer, NO HOMEMADE systems. Subs must be on one separated line

Sound Desk: • 1 x Yamaha CL5 or CL3 or QL5 + Yamaha Rio 32/24 • To work with our QLAB Midi system, your desk needs to be updated to 4.10 Yamaha firmware. • Please note that we need to totally erase your desk scene memories, make sure you have a back up of

your house configurations.

• We bring one Cisco switch and network cables to build a Dante Network with your desk and Rio and our

laptops with Dante virtual soundcard. Monitors:

• 3 monitors speakers such as D’nB M4 or L-Acoustics X15 (2 used as stage monitors with speaker stands, one used for our gramophone, with a speaker stand also)

• 4 small speakers as L-Acoustics X8, Meyer UPM, D’nB E8. 3 of them need brackets and hooks to be hung to a pipe behind musicians. Pipe is part of the musician’s platform. The fourth one goes under the slope for stage crew cues.

• 6 x ear monitors systems such as Shure PSM 1000, Sennheiser SR2000 or EW300-G3, with antenna, BNC

cable and antenna splitter. We provide headphones. The antenna needs to be hung on a top side of the musician’s platform (4 meters high). Please make sure you have a long enough BNC cable from transmitters to the antenna (approximately 20m if your rack is on a side downstage).

Microphones: • 7 x channels of radio mics (6 instruments or voices + 1 spare), 4 receivers such as Shure UR4D and 7 belt-

packs such as Shure UR1 or UR1M, with two antennas, BNC cables and antenna splitter. • For percussions, it’s really important that belt-packs be small, such as Shure UR1M or Sennheiser SK5212.

We’ll need to attach belt-packs with velcro on percussions. • Please pay attention to provide the right adapters between DPA and Shure microphones to Shure or

Sennheiser belt-packs. Same for violin and double bass DPAs, don’t forget to provide DAD4099-BC adapters.

• We need three DPA 4066 for singers, please provide one more as a spare. Please refer to the input patch list attached for all microphones information.

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Intercoms:

• 2 wired intercom at FOH, 1 wired on musicians platform, 4 wireless on stage

Others: • We need a 25 meter 16 XLR multicore to go from your RIO to the musician’s platform • Please provide enough batteries for radio beltpacks.

WE BRING

• 2 Mac-books • 1 Cisco Switch with Ethernet cables • Violin and double bass clip for your DPAs • EA pick up for double bass • 1 pick up mic • Kanjira mic Shure B87 • Spare click system

Musicians: • Andrew Maddick: violin • Aditya Prakash: vocals • Nina Harries: double Bass, vocals • Manjunath BC: percussions, vocals • Tamar Osborn: baritone sax

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Xenos Input Patchlist – 26/02/18 Instruments Microphones Dante Notes

1 Violin DPA 4099 (we only provide violin clip) 1 2 Aditya vocal 1 PA KMS 105 or Beta 87A 2 Tall mic stand 3 Aditya vocal HF PA DPA 4066 3 Wireless 4 Double bass 1 EA pick up (provided) + 1DI 4 +1 jack cable 5 Double bass 2 DPA 4099 (we only provide dbass clip) 5 6 Nina vocal DPA 4066 6 Wireless 7 7 8 Kanjira Beta 87 (we provide) 8 Short mic stand 9 Mridangam 1L Beta 98 D/S (with drum mount) 9 Wireless

10 Mridangam 1R Beta 98 D/S (with drum mount) 10 Wireless 11 Mridangam 2 Beta 98 D/S (with drum mount) 11 Wireless 12 Hammer SM 57 12 Short mic stand 13 Manju vocal PA DPA 4066 13 Wireless 14 Baritone sax Beta 98 H/C (with brass clip) 14 15 Baritone sax 2 SM57 15 Tall mic stand 16 16 17 Aditya vocal 1 Mon split from channel 2 2 18 Aditya vocal HF Mon split from channel 3 3 19 Manju vocal Mon split from channel 13 13 20 Slope Pick up (we provide) + 1 DI 20 +1 jack cable 21 Ambiance Condenser (hung to a fly bar) 21 Long cable 34 Akram Talkback SM58 with on/off switch 19 Long cable 37 Nina spare vocal SM58 23 Tall mic stand 38 Manju spare vocal SM58 24 Short mic stand 23 AKC Laptop Dante virtual soundcard 1 31 Drone 24 AKC Laptop Dante virtual soundcard 2 32 Click 25 AKC Laptop Dante virtual soundcard 3 33 26 AKC Laptop Dante virtual soundcard 4 34 27 AKC Laptop Dante virtual soundcard 5 35 28 AKC Laptop Dante virtual soundcard 6 36 29 AKC Laptop Dante virtual soundcard 7 37 30 AKC Laptop Dante virtual soundcard 8 38 31 AKC Laptop Dante virtual soundcard 9 39 32 AKC Laptop Dante virtual soundcard 10 40

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Xenos Output Patch List – 26/02/18

Speaker/In ears/FX Desk output RIO out Dante Notes

Andrew In ears MIX 1 1 1

Aditya In ears MIX 2 2 2

Nina In ears MIX 3 3 3

Manju In ears MIX 4 4 4

Tamar In ears MIX 5 5 5

Gramophone speaker MIX 6 6 6 With speaker stand

Stage monitor L MIX 7 7 7 With speaker stand

Stage monitor R MIX 8 8 8 With speaker stand

Subs MIX 9 9 9

Aditya Monitor MIX 10 10 10 With bracket and hook

Manju Monitor MIX 11 11 11 With bracket and hook

Tamar Monitor MIX 12 12 12 With bracket and hook

Stage monitor MIX 16 16 16 Under the slope

Stéréo L MATRIX 1 AES 1L 13

Stéréo R MATRIX 2 AES 1R 14

Front Fill L MATRIX 3 13 15

Front Fill R MATRIX 4 14 16

ST Record L MTX 5/OMNI 1

ST Record R MTX 6/OMNI 2

Spare Click MATRIX 7 15 17

Reverb Short FX 1

Reverb Long FX 2

Delay Short FX 3

4th J

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Pag

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SPECIAL EFFECTS Open fire on stage There is one moment at the beginning of the performance when Akram strikes 1 match; We have put in place an extensive fire procedure for this moment. We have 2 AKC fire marshals, one stage left and one stage right, each fire marshal will have a 2kg Co2 fire extinguisher. The lit match is extinguished by the performer who passes it to one of the musicians on stage, who in turn has a damp cloth to collect it. PRACTICAL FIRE SAFETY ARRANGEMENTS There will be two nominated Fire Marshals for assessing any potential fire hazard. They will ensure the safe handling of open fire on stage during rehearsals and performances in order to take active measures in case of a fire emergency. The Company’s nominated fire marshals are: Fire Marshal No.1 Russell Parker Touring Technician Fire Marshal No.2 Marek Pomocki Touring Stage Manager DESCRIPTION OF SCENE USING OPEN FIRE ON STAGE In this scene Akram stands mid stage and strikes a single match during a black out, he then turns, crouches down and blows the match out, a short film of this scene is available on request both in show conditions and with working light so you are able to see how we manage this scene. METHOD FOR PREVENTING A FIRE Passive Measures

- Fire Marshals and the Performer will be educated and trained on handling open fire on stage in a safe manner in accordance to current health & safety procedures.

- Stage flooring and props on stage will be protected with flame retardant. - Both Fire Marshals will make themselves familiar with the venues fire alarm system and have contact

details for the local fire brigade - Both Fire Marshals and the Performer are familiar with the methods and procedures, described in this

document. Active Measures

- Both Company Fire Marshals will be positioned on either side of the stage equipped with two 2kg CO2 fire extinguishers

- Both Fire Marshals are positioned in direct line-of-sight of the performer handling the open fire on stage. - It is ensured that both Fire Marshals are able to quickly enter the stage in order to react to any potential

fire hazard on stage and to take active counter measures, if necessary. - The match is extinguished by the performer, on stage, and handed to a musician who places it in a damp

cloth, on stage

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BACKLINE WE REQUIRE

1 x 3/4 or 7/8 size Double Bass

DOUBLE BASS RENTAL SPECIFICATIONS:- Instrument should be of a high quality, professional Classical standard - not a student/jazz instrument. Absolutely NO plywood. It must be fitted with Classical strings - steel and high quality - No gut/synthetic. Spike MUST be fully extendable and have a rubber end/stop. (No bow or pick up required as performer will provide her own)

WE BRING All other musical instruments for this performance.

PROPS We use a lot of pine cones in this performance, currently 80 Kg (average size 8cm, diameter 6 cm), Pine cones should be flame retarded according to European fire safety protocols. We carry a quantity of this with us.

Although we tour with the pine cones it may not be possible to tour it to all countries due to custom and import restrictions, in this case we would need the presenter to source the pine cones. We also use a small amount of soil in the performance and for the reasons above this may also need to be provided by the venue.

WE REQUIRE

• Garden soil: Ideally sterilized top soil, or potting compost, absolutely no manure or animal products. The soil is kept moist to minimize dust

• Only when restricted by Custom and import regulations NOT applicable in Europe, Pine Cones: 80kg roughly 8cm height, 6cm diameter (picture to follow)

WE BRING

We bring all other props used in the performance.

• Pine cones are dropped from the top of the set at the end of the show and for this reason we recommend you hold the first 2 or 3 rows off sale, please contact the technical manager for more information

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COSTUMES WE REQUIRE

• An experienced professional wardrobe assistant, according to the schedule � • Duties will include (hand) washing and costume maintenance. � • We will need access to a washing machine and dryer � • Liquid laundry detergent suitable for delicates � • A spinner to spin dry costumes � • Hand washing facilities � • At least 16 hangers including trouser hangers � • Access to an iron, ironing board, steamer and sewing machine � • 2 large fans or a hot box to dry the costumes after the show � • 3 laundry baskets

Our costumes require no dry cleaning, unless specifically requested by the Touring Stage Manager. In that case a good theatrical dry cleaner with a quick service and good reputation would be helpful. Please confirm wardrobe schedule with the Tour Manager, Mashitah Omar mashitah@akramkhancompany.net More detailed instructions regarding the costume maintenance can be found in the Costume Maintenance Pack, sent by the Tour Manager upon request prior to arrival, and discussed with the Wardrobe Assistant in the theatre. Costumes should be ready 4 hours before the show. DRESSING ROOMS AND BACKSTAGE� WE REQUIRE

• A minimum of three (3) spacious dressing rooms � • Ice packs/first aid kit for emergency use to be close to the stage � • Hot showers available at all times � • 12 Clean towels (6 big, 6 small) � • 1 Lockable production office with the use of a telephone and internet � • A studio (minimum 10m x 10m with sprung floor and PA system with a mini jack connector for company

rehearsal from set up day to the last show day. � • Studio should be preheated to 22˚C �� • Enough drinkable still water for 14 people from get in to get out � • Coffee, tea, fruit and snacks backstage are appreciated �

• For studio arrangements please contact the tour manager. �

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LOGISTICS • The set will arrive in one 40 foot container on the morning of the first set up day. � • We will need adequate space outside of the loading bay for leaving the container as this could act as

temporary storage, if this is not possible then please advise us. • The set pieces are large and heavy so if the venue is not equipped with a loading dock to allow flat (or

near flat) access from the container then a forklift (with 8 foot extensions) and operator will need to be provided. Please inform the Technical Manager at Akram Khan Company of any access issues prior to the first get in day. �

• We travel with up to 5 extra cases containing sound and lighting equipment, costumes and instruments� • We may incur excess luggage charges, which will be invoiced back to the presenter. � • When arranging transfers to and from the airport, or the venue, please consider the weight and size of

these extra cases on top of personal luggage for 14 people travelling. �

SCHEDULE

IMPORTANT: XENOS needs a minimum of a 2 day set up prior to the 1st show day which will be on day 3. �

• The get out including loading the truck is approximately 6 hours (we are working on reducing this to 5 hours). �

• During the whole stay from get in to get out the stage is at the sole use of Akram Khan Company � • The attached schedule is a generic & standard schedule for the production of XENOS. �The crew levels

are based on a standard venue, with each department having a head of department (HOD not included in the numbers). If you need more crew because of any restrictions or peculiarity of the venue then please advise the Technical Manager and adjust the staff levels accordingly �

• Please advise us of any Union restrictions, long lunch break policy’s or mid day shift changes, so as the schedule can be adjusted to accommodate local requirements. �

• The AKC Technical Manager must always agree any Schedule changes �

• The venue stage technicians including the fly operator have very specific cues during the show, for this reason it is important we have the same crew for rehearsals and show, and the same team for the entire run. If this is not possible please talk to AKC technical manager

• There are fly cues in the performance, if flying is not possible in your venue then contact AKC technical

manager to discuss alternative solutions

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Venue name:-

Xenos Technical Schedule

AKC

TechniciansFly's

StageLight

SoundW

ardrobeN

otes

Day before the 1st fit up day

Pre-rig Lighting and Masking

09:00-09:301

74

20

Mark-out stage,

09:30-13:001

74

20

1.Unload truck,

2.Finish rigging and colour LX,

3.Build M

usician platform

4.Set up sound13:00-14:00

2Lunch break/sound check PA

14:00- 15:001

74

1Sound lunch break

15:00-18:001

74

21

Build m

ain slope (Set)

18:00-19:002

Dinner break, sound check

19:00-22:001

62

00

Continue to build set

09:00-13:001

34

21

Focus Lights

12:00 -13:001

34

01

Sound lunch break

13:00-14:002

Lunch break/sound check PA

14:00-16:001

32

21

Set inspection and automation testing

16:00-18:001

32

01

Plot Lights, set continuation if necessary (Sound B

reak 16:00- 17:00)

17:00-19:002

Sound Check w

ith musicians

18:00-19:002

Meal B

reak. Sound Check M

usicians continues

19:00-22:001

31

11

Set props between 19:00 and 19:50. 19:50 C

ompany briefing.

Rehearsals full company on stage

09:00-13:001

31

10

Stand by shift Set, Light and sound corrections if needed

13:00-14:00Lunch break

14:00-17:001

31

11

Rehearsal Full company on stage

17:00-18:00D

inner break

1h30m hour before show

13

11

1Preset prop and ropes

45mins before the show

13

11

1M

usicians line check

20 mins before show

13

11

1O

pen for audience

Performance 20:00

13

11

1Perform

ance. Wardrobe call after perform

ance

14:00-17:001

31

11

Tech Checks &

Rehearsal Full company on stage (Technicians to

begin checks 1 hour before the rehearsal)17:00-18:00

Dinner break

1h30m hour before show

13

11

1Preset prop and ropes

45mins before the show

13

11

1M

usicians line check

20 mins before show

13

11

1O

pen for audience

Performance 20.00

13

11

1Perform

ance. Wardrobe call after perform

ance.

16:00- 18:301

31

11

Tech checks , preset props, minim

al rehearsal and Musicians line

check18:30 - 19:30

13

11

1B

reak

20 mins before show

13

11

1O

pen for audience

20:001

31

11

Performance

6 hours1

92

11

Get out and w

ardrobe call directly after the show

If possib

le a pre-rig

for the lighting

& m

asking w

ill help w

ith the tight sched

ule

If you need more crew

because of any restrictions or peculiarity of the venue (such as split fly floors) then please advise me and adjust the staff levels accordingly.

Please advise of any union restrictions, long lunch break policy’s or mid day shift changes, so as the schedule can be adjusted to accom

modate local requirem

ents.

Last Performance day

Day 1 set up

Performance day 1

2nd Performance day

Day 2 set up

The crew levels are based on a standard venue, w

ith each department having a head of departm

ent (any managem

ent are on top of the numbers quoted).

Wardrobe call after each perform

ance for washing

Please note it only takes 4 hours to dism

antle the set but a further 2 hours to load

the truck, w

e only need 6 crew

for loading

the truck so it may b

e possib

le to break som

e of the crew

after 4 hours

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Akram Khan Company’s

“XENOS”

TECHNICAL RIDER Please print out this 22-page document and return it signed to: Akram Khan Company Unit 311, Screenworks 22 Highbury Grove London N5 2ER UK Date: ________________ Read and agreed _____________________ _____________________ The Presenter Akram Khan Company

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Rider amendment page

New version date

Revision Details Who

19/1/18 Updated sound patchlists JD/TF

23/1/18 Added 1 x 2k Fresnel to lighting and patch list amended RF

26/2/18 Lx cuts, sound cuts, stage changes, fly cues RF

9/03/18 Update on Schedule RF

4/6/18 Forklift extensions & schedule change TF