Innovason Eclipse (at FOH) and Sy80 (monitors) consoles are being used for Wajdi Mouawad’s Des Femmes, a radical new setting of three Greek tragedies by Sophocles.
The production has not been without its controversy – not least that pertaining to the involvement of French rock star Bertrand Cantat, who was convicted of killing his girlfriend, actress Marie Trintignan, during a violent domestic dispute in 2003. Cantat wrote the music for the production and is also performing at selected shows.
Mouawad justified the involvement of Cantat by observing that “Electra, Antigone and The Women of Trachis are plays about justice and revenge ... Cantat’s presence at the edge of the action will make those themes more powerful.”
The set-up ensuring that the powerful themes are complemented by equally impactful sound includes two Innovason digital mixing consoles supplied by Breton rental company Koroll Sonorisation: an Eclipse at FoH and an Sy80 on monitors, both on an EtherSound digital network.
At FOH, sound engineer Olivier Renet was already familiar with Innovason consoles, and felt that their high quality mic preamps and processing made them a logical choice for this demanding production.
He remarked: “Apart from the excellent sound quality, I really appreciated the flexibility of the console and the integrated M.A.R.S. multitrack recorder, especially during rehearsals when you’re constantly juggling between full dress rehearsals, PA system testing, and switching back and forth between actors and musicians... M.A.R.S. was invaluable in that respect.”
Renet also appreciated the ability to switch easily between the inputs mix and the outputs mix for soundcheck and line testing. The 48 faders enabled him to have his inputs, VCAs and output on the same layer, with the rest accessible via the SmartPanel. Moreover, “Relax and OverRam gave me enormous flexibility, both in rehearsals and during the show. Basically, I could make any changes I liked, either temporary or permanent, without it affecting what the console was doing or the scene memories, which, in a theatre, are usually set in stone. Also, the Offline editing function very quickly became one of my best friends! As the tour progressed, we had a few revisions to make as one or two things hadn’t been fully resolved during rehearsals – I sorted all of those issues out using the offline editor with complete peace of mind. [...] In short, Eclipse has been – and still is – a great tool for me on this tour.”