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Post by crabtree on Aug 12, 2019 16:56:42 GMT
Have you ever seen an effect on stage, in a play, opera, ballet, or musical that has left you totally stumped? And do you like to know how they were done.
The guillotine scene in the NT's Danton's death was pretty wonderful sleight of hand/head, and I have to say I enjoyed the Pepper's ghost effects in Lord of the rings musical. A good Titus Andronicus can usually guarantee some good special effects, and though it's easy to work out as you watch it, the flying in Poppins is still pretty breathtaking.
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Post by marob on Aug 12, 2019 17:51:24 GMT
The Everyman in Liverpool reopened with a production of Twelfth Night where Jodie McNee burst up out of a pool of water in the stage floor. I'd always wondered how they'd done that. Couldn't have been a straightforward trap door because of the water. Had she been under there the whole time while people took their seats? Then someone asked at an open day for their fifth anniversary and it turns out she just swam through from backstage. Bit disappointing when you actually know.
Another one was Mike Bartlett's Wild at Hampstead Theatre. I saw the twist coming a mile off. I did NOT see how far they would take the twist. But I watched it a second time when they livestreamed it and you could tell how it was done.
The way they hid whatever machinery the magic carpet was on in Aladdin was flawless, and turning the theatre into a starry sky was a pretty stunning moment in a show I had quite low expectations for.
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Post by ftfadia on Aug 12, 2019 18:04:51 GMT
The way they hid whatever machinery the magic carpet was on in Aladdin was flawless, and turning the theatre into a starry sky was a pretty stunning moment in a show I had quite low expectations for. My first thought was Aladdin too...that was a good one! And was there something in Charlie & the Chocolate Factory? I can't remember exactly what happened but I do remember being stumped & impressed at one of the effects. |
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Post by westended on Aug 12, 2019 18:27:43 GMT
The Everyman in Liverpool reopened with a production of Twelfth Night where Jodie McNee burst up out of a pool of water in the stage floor. I'd always wondered how they'd done that. Couldn't have been a straightforward trap door because of the water. Had she been under there the whole time while people took their seats? Then someone asked at an open day for their fifth anniversary and it turns out she just swam through from backstage. Bit disappointing when you actually know. Another one was Mike Bartlett's Wild at Hampstead Theatre. I saw the twist coming a mile off. I did NOT see how far they would take the twist. But I watched it a second time when they livestreamed it and you could tell how it was done. The way they hid whatever machinery the magic carpet was on in Aladdin was flawless, and turning the theatre into a starry sky was a pretty stunning moment in a show I had quite low expectations for. Aladdin’s carpet effect is surprisingly simple when you find out how they achieve the effect😂 |
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Post by amp09 on Aug 12, 2019 19:22:10 GMT
The Everyman in Liverpool reopened with a production of Twelfth Night where Jodie McNee burst up out of a pool of water in the stage floor. I'd always wondered how they'd done that. Couldn't have been a straightforward trap door because of the water. Had she been under there the whole time while people took their seats? Then someone asked at an open day for their fifth anniversary and it turns out she just swam through from backstage. Bit disappointing when you actually know. Another one was Mike Bartlett's Wild at Hampstead Theatre. I saw the twist coming a mile off. I did NOT see how far they would take the twist. But I watched it a second time when they livestreamed it and you could tell how it was done. The way they hid whatever machinery the magic carpet was on in Aladdin was flawless, and turning the theatre into a starry sky was a pretty stunning moment in a show I had quite low expectations for. Aladdin’s carpet effect is surprisingly simple when you find out how they achieve the effect😂 How do they do it? |
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Post by Deleted on Aug 12, 2019 19:58:19 GMT
I always like to know how things are done. What I find most impressive is when you're actively looking out for the things you know are there and still can't see it happen.
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Post by jgblunners on Aug 12, 2019 19:59:18 GMT
And was there something in Charlie & the Chocolate Factory? I can't remember exactly what happened but I do remember being stumped & impressed at one of the effects. The paper plane? That always impressed me far more than the glass elevator, of which the mode of operation was pretty obvious.
Please correct me if I'm wrong, but when I sat front row I'm pretty sure I could see wires on the corners of the carpet, so I suspect it's just wired very finely to machinery in the fly tower that 'drives' it around the stage. Simple, but if the wires are disguised well enough then very effective.
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Post by westended on Aug 12, 2019 20:00:43 GMT
Aladdin’s carpet effect is surprisingly simple when you find out how they achieve the effect😂 How do they do it? In each corner of the carpet, there are 9 wires that attach to the rig in the flytower. Each corner also has a motor, so that the 9 wires can spin around very quickly. It works like Helicopter blades - they spin so quickly they are hard to detect. The carpet lowers and flys up by a secondary rig (it can rotate and track to SL & SR) which is attached to the main truss in the grid, and this is the part which means it can turn around across the stage as well. The company that built this (TAIT) have a detailed patent online which you can read and view. |
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Post by jgblunners on Aug 12, 2019 20:03:04 GMT
It works like Helicopter blades - they spin so quickly they are hard to detect. That's genius! I sat front row for this and if I squinted really hard i could see wires, but I had no idea that there were so many. That's a brilliant piece of design! |
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Post by amp09 on Aug 12, 2019 20:07:40 GMT
In each corner of the carpet, there are 9 wires that attach to the rig in the flytower. Each corner also has a motor, so that the 9 wires can spin around very quickly. It works like Helicopter blades - they spin so quickly they are hard to detect. The carpet lowers and flys up by a secondary rig (it can rotate and track to SL & SR) which is attached to the main truss in the grid, and this is the part which means it can turn around across the stage as well. The company that built this (TAIT) have a detailed patent online which you can read and view. Incredible, would love to see it up close to really see it in action. |
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Post by Deleted on Aug 12, 2019 20:30:31 GMT
And was there something in Charlie & the Chocolate Factory? I can't remember exactly what happened but I do remember being stumped & impressed at one of the effects. The paper plane? That always impressed me far more than the glass elevator, of which the mode of operation was pretty obvious. The paper plane was brilliant! Fairly simple in that it was a plane on a bit of fine wire, but the thing that boggled my mind - and still does - is how it got setup/removed because it flies in a straight line. If it was just pulled up into the circle with no anchor stage-end it would have just flopped into the audience and dangled around, so there must have been an anchor of some sort in/around the chair that stayed in place until the chair was struck. The 'wire' wasn't visible pre show or at the interval, so it must have gotten put in and struck during that scene. To further complicate it, the safety curtain comes down at the interval which would have severed any wire connecting the circle and the stage. When executed properly Wonka's exit in the finale was very good too. Although I remember being quite disappointed Jonathan Slinger never got it right and there was always much fumbling about, held semi-final note and parts of the mechanism could be seen. And the less said about the glass ele-phant in the room, the better! |
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Post by ftfadia on Aug 12, 2019 20:39:06 GMT
The paper plane? That always impressed me far more than the glass elevator, of which the mode of operation was pretty obvious. Yes! It was the plane, I still don't know how they did that  |
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Post by Deleted on Aug 12, 2019 21:12:24 GMT
I’ve been watching a show on Netflix called ‘Secrets of the Magicians’ or somesuch. After two episodes you basically understand how they do everything, and It gets quite repetitive (and increasingly sexist.). What fascinated me was learning the actual meaning of the phrase ‘smoke and mirrors’ and realising that ‘magic’ is a product of the 19th century, so it’s all pretty prosaic.
Back to the topic at hand, I remember being very amazed by a bunch of stuff in Cursed Child. Might have to go back again now I have watched that show.
Am going to read and see if there are any actual new tricks/genres of illusion.
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Post by ukpuppetboy on Aug 14, 2019 8:42:39 GMT
I was always impressed with the flying/spinning Beast transformation in those original productions of Disney’s Beauty and the Beast. I went a number of times in Melbourne to try and figure that out. With the advantage of seeing Hugh Jackman’s Gaston thrown in for good measure.
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Post by maggiem on Aug 14, 2019 9:45:05 GMT
Going back-a-ways, I was well impressed by Paul Kieve's illusions in the Ken Hill play " The Invisible Man", especially the death scene a the end.
I saw this several times in the West End and never spotted the actual moment that Michael N Harbour got onto the stage.
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Post by Stephen on Aug 14, 2019 9:50:54 GMT
Although not the most impressive effects, I do enjoy the Twins FX flying bus etc. Although we all know how it's done the magic of it and the awe of the kids at the Pantos make it a really special moment.
I agree about the plane in Charlie...that was cool and I didn't see it coming at all.
The effects in Ghost were good especially in the train scene and with Oda Mae at the end.
Also, although very simple, I liked the little moments of illusion in Company. They went very well with the dreamlike theme of the production.
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Post by andrew on Aug 15, 2019 10:10:43 GMT
I was a big magic fan as a kid, so I'm not sure if I've ever seen anything that I had absolutely no idea how it could possibly have been achieved. One of the standout illusions that springs to mind though has to be the polyjuice potion in Harry Potter and the Cursed Child, I think everyone has a sense of how it must be done, but it's so perfectly crafted and executed I don't think I'll ever forget it.
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Post by pianowithsam on Aug 15, 2019 16:12:43 GMT
I know it probably doesn’t count strictly as “special effects”, but the wall scene in “The comedy about a bank robbery” is exceptional.
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Post by andrew on Aug 15, 2019 16:19:05 GMT
^They must have tightened that one up since previews, then andrew . It was painful to watch back then - from the front stalls anyway. Haven't seen it since previews, also from front stalls. Maybe you had a bad day, everyone in my party was impressed. |
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Post by Stephen on Aug 15, 2019 21:30:07 GMT
I was a big magic fan as a kid, so I'm not sure if I've ever seen anything that I had absolutely no idea how it could possibly have been achieved. One of the standout illusions that springs to mind though has to be the polyjuice potion in Harry Potter and the Cursed Child, I think everyone has a sense of how it must be done, but it's so perfectly crafted and executed I don't think I'll ever forget it. Is that the ear smoke one? I didn't even think it looked convincing in the new Melbourne show clips. |
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Post by oxfordsimon on Aug 15, 2019 21:41:05 GMT
One of my favourite moments is the end of Act 1 of Our House - where Joe Casey (in evening wear) is dancing on the gantry above the stage at the same time as appearing at the front of the stage in his prison outfit
Watching it live, it was one of those classic 'how on earth...' moments. Watching the DVD it is clear when the trick is pulled off - but it is done very simply and very cleverly.
Often the least technological effects are the ones that hit home the most with audiences.
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Post by Dawnstar on Aug 15, 2019 22:17:43 GMT
but the wall scene in “The comedy about a bank robbery” is exceptional. Good one, pianowithsam. I think it counts as one of the best, in fact. I confess that even though I'm a big fan of TCAABR (writing this on the train home from yet another viewing) that scene is my least favourite in the show. I suppose it does have the wow factor the first time around but once you've got over that I don't find it keeps being amusing, unlike many other scenes. I thought Groundhog Day had some good special effects in the montage scene when Phil kept on killing himself then reappearing in bed alive again. I could work out how most of them were done, but I prefer that. I find it annoying if I can't work out how things are done on stage - this is one reason why I'm not keen on magic shows! |
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Post by andrew on Aug 16, 2019 8:56:15 GMT
I was a big magic fan as a kid, so I'm not sure if I've ever seen anything that I had absolutely no idea how it could possibly have been achieved. One of the standout illusions that springs to mind though has to be the polyjuice potion in Harry Potter and the Cursed Child, I think everyone has a sense of how it must be done, but it's so perfectly crafted and executed I don't think I'll ever forget it. Is that the ear smoke one? I didn't even think it looked convincing in the new Melbourne show clips. No, it's the potion that turns you into someone else. There was a lot of chat about it, if you search the Cursed Child spoilers thread I wasn't the only one who was impressed, I promise! |
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Post by crabtree on Aug 16, 2019 14:05:48 GMT
Another great water moment was at the end of the Royal Exchange's last Edward II, where after meeting his fate with lightborn, Edward was dumped face first down in a pool of water, his head well under the water, and there he remained whilst the coronation of his son went on around him for at least ten minutes. Not a ripple in the pond, not a bubble, so whatever breathing device he managed to grab was done with superb sleight of hand choreography. Most impressive, and a great piece of poignant staging.
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Post by partytentdown on Aug 16, 2019 18:27:38 GMT
There is a brilliant bit in the recent Broadway revival of Pippin where a sheet is thrown over a dead body, then the Leading Player lays her hands on it and 'levitates' it up into the air, then screws up the sheet to reveal nothing underneath. It's genius when you know how it's done and looks so impressive. I think your can see the scene in YouTube.
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