Cult of Color: Call to Color
About the Production
One of Ballet Austin’s most innovative collaborations. In a most unusual ballet in two acts, we take a mythological journey with Sesom, a vegan priest who is thrust into an epic voyage to bring color to the black and white underworld. Trenton Doyle Hancock’s comic book-style characters intrigue and enthrall with humorous, original choreography by Artistic Director Stephen Mills and an equally outrageous and inventive score from composer Graham Reynolds. Choreographer, writer, composer and visual artist come together in a creative alliance that is sure to leave audiences delighted and exhilarated.
CHOREOGRAPHY: Stephen Mills | STORY & VISUALS: Trenton Doyle Hancock | MUSIC: Graham Reynolds
Photography by Tony Spielberg
Licensing Information
For information about licensing this production, contact us or view the Technical Specifications.
Paul Michael Bloodgood
Creative Brand Producer & Licensing Manager
512-423-4509
paul.bloodgood@balletaustin.org
Bill Sheffield
Production Director
512.476.9151, ext. 113
bill.sheffield@balletaustin.org
Technical Specifications
| Item | Minimum Requirements |
|---|---|
| Stage size | 40 X 30 (last lineset) |
| Grid height | N/A |
| Wing space | 20 feet per side |
| Upstage area | Crossover |
| Working linsets | None need full stage traveler track for drop, single track, no split. Show goods are 16-feet, 9-inches high. |
| Stage floors | The stage floor must be resilient wood. The floor cannot be concrete or wood directly over concrete. If the surface is concrete, the Presenter must provide a professional dance sub-floor that must cover stage area from wall to wall. The surface must have any traps leveled, holes pulled and no protruding nails or screws. The stage floor or sub-floor must be covered with a black Marley-style dance floor. |
| Soft goods provided by house | Full set of black legs and border, plus black scrim |
| Recorded or live music | Recorded music |
| Lighting | The Presenter shall furnish the company a complete inventory of house lighting equipment. The company shall endeavor to work within the house instrumentation, but any necessary rentals shall be at the Presenter’s cost. There should also be enough cable, side arms, C-clamps, and color frames to sufficiently hang the lighting plot. |
| Audio | One house speaker system-center cluster and/or house left and right speakers. Two to four backstage monitor speakers. One announce-quality microphone, separately controlled. One headset communication system with seven stations and operable headsets. One paging system to dressing rooms. |
| Power | Standard |
| Typical set-up schedule | Day 1: Hang electrics and good. Day 2: Focus/finish set up. Day 3: Cueing dancers/rehearse. |
| Personnel | Tony Tucci is LD. Costumer must travel for fittings. |
| Shipping | Bobtail |