Saint Mary's University

Our approach to Urinetown was to respect many of the elements that have become standard with the musical while giving it a unique look and sound. Scenic Designer Tamara Honesty provided a raised second level as well as a passarale which allowed both the musicians to remain in the pit and the director to be able to place his actors close to the audience.

The consisted of piano, upright bass, clarinet, saxophone, baritone/trombone and percussion. Given the size of the auditorium it turned out that they needed minimal reinforcement into the house but selective mixing was used to provide clarity and, somewhat surprisingly, bring the brass into the mix.

The sound design utilized 21 wireless microphones both Sennheiser G2 and Audio Technica using Counrtyman B6 and E6 elements along with AT boom mics. The band was mic'd using Shure SM81s, SM57s, and a ??? on the kick.

The console was a Roland M400 which proved to be a bit of a challenge since although considered a live mixing console, it has some features that are unfriendly to a musical. Mixer Charlotte Denarek had never mixed using DCAs prior to this production but doing so seemed to be both practical for the show and a great learning experience. After some explanation and guidance she embraced the method and by opening night she was mixing a rocking performance.

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