PROJECT ONE (1): ‘One Hundred and Twelve’
Performed at: Milton Court Studio Theatre
November - December Twenty-Twenty-Five (2025)
Credits:
Production Manager: Keira Thompson Taitt
Assistant Production Manager: Christine Zak
Stage Manager: Allissa Flood
Deputy Stage Manager/ Scribe: EJ Walker
Assistant Stage Manager: Conor Costelloe
Directing: Nalan Asya Asenova | Elif Özkara | Saran Polchan | Praise Titus | Christine Zak
Marketing, Documenting and Archiving: Corgil Chernova | Tara Choudhary | Allissa Flood | Christine Zak
Set and Props: Krystal Anderson | Tiger He | Praise Titus
Masks: Nalan Asya Asenova | Corgil Chernova | Tiger He | Hal Munger | Saran Polchan
Costumes, Hair and Make-Up: Krystal Anderson | Corgil Chernova | Allissa Flood | Keira Thompson Taitt | Praise Titus
Lighting Design: Tiger He | Rijan Kc
Lighting Programmers: Hal Munger | Christine Zak
Sound Designer: Conor Costelloe
Composer/ Production Sound Engineer: EJ Walker
Sound Sourcing/ Production Sound Engineers: Tara Choudhary | Callum Sked
Video: Krystal Anderson | Corgil Chernova | Conor Costelloe | Saran Polchan
Performance: Nalan Asya Asenova | Tara Choudhary | Elif Özkara | Callum Sked | Christine Zak
Module Leads: Carrie Croft | Emily Orley | Nazli Tabatabai-Khatambakhsh
Poster design: Christine Zak
A song I associate with this project:
‘I’m Losing Out’ - Nathan Cox (Middle Farm Sessions)
EJ’s Summary of the project:
‘This piece was inspired by, and named after, one hundred and twelve (112) sentences we chose from sixteen (16) different pieces of news, which become the only lines of spoken word we could use. From this, we created a post-dramatic piece of theatre in five (5) Acts, exploring how we interpret and consume the news, and how the news is told.’
What did EJ contribute to this project?:
Roles: DSM, Scribe, Composer, PSE, Rigging Assistant
Development
DSMing and Scribing
Call sheets:
By Week Two (2), because we wanted to effectively use our time and include everyone in the devising process, I started distinguishing between who was ‘required’ in the room for blocking and staging (ie. performers, directors, the DSM), and who could either be there for the devising work, or doing work towards their own departments, if this was more of a priority at the time.
This Deadlines section was created by Keira, and distributed to everyone via this call sheet by me.
Devising/ Rehearsal Reports and Scribe Notes:
It should be noted that I was combining my DSM reports with my scribing notes, and treating both like meeting minutes. Even then, I’d probably try to be a lot more concise in the future, if I ever find myself in this kind of role (emphasis on ‘try’).
All taken from the same day, which was also a performance share with notes at the end.
I recorded lateness and absences if the company member was on the ‘required’ list on the call sheet.
Report template by Allissa Flood
As you can see, I think I’d make at least an alright court scribe.
Here is my typed-up and printed final script, which became my pencilled-in and Post-It Noted prompt copy, for Act One (1) of the piece, ‘Collide!’. Yellow Post-Its are sound cues, and blue Post-Its are LX cues.
Script and Prompt Copy:
Composition and PSE Work
Speaker Planning:
When we got the sound specs for the theatre, we discovered that the speaker plan is pretty robust for our needs as it is, so we really didn’t need to change much. We ended up using two (2) fills below the tension-wire grid and upstage, three (3) loudspeakers positioned for dispersal over the seating banks, and the two (2) subwoofers already stationed.
Composition Draft QLab:
This is the draft QLab with only the composition elements I had created in Garageband, in the order I wanted them in. I sent this to Conor to make the final, master QLab with by adding his own SFX and reconfiguring to match his vision as Sound Designer.
As you can probably tell, I did not isolate each track within the composition individually, but placed my recordings into the timeline as collected pieces. This meant we did not have control over much in terms of mixing or speaker-panning in the space, but as we were only really planning on panning left and right, this didn’t matter too much.
The Final Product
AUDIO SAMPLES
Here are the final composition pieces for Acts One (1), Two (2), Four (4) and Five (5) of the piece! Feel free to skip around, as to account for onstage action, most of these include a minute or so of drone/ pedal at the beginning.
MISOPHONIA/ SOUND WARNING FOR DISTORTION, CLASHING NOTES AND IRREGULAR LOOPING!
LINK TO ARCHIVAL VIDEO OF THE PROJECT:
https://drive.google.com/file/d/1ouFf8uFxiaE3eulzwJXfx3emtgwYZIPl/view?usp=sharing
PHOTO GALLERY
Photo Credit: Allissa Flood
