Download - Trapped in Time Storyboard - [email protected]€¦ · Storyboard by Jason Shelby [email protected] (270) 293-4106 They call it the ‘Arrow of Time’ paradox: physics tells

TrappedinTime

FanninMusicalProductionsStoryboardbyJasonShelbyjason@fanninmusic.com

(270)293-4106Theycallitthe‘ArrowofTime’paradox:physicstellsusthatattheirmostfundamentallevel,thelawsofnatureworkjustaswellbackwardsastheydoforward…theunceasingflowoftimethattrapsusisnotafactofnature,butaproductofthehumanmind.So,canweescapeit?BasedonanincrediblemusicbookbyMikePote,TrappedinTimefeaturesamind-bendingconceptwhichwillintrigueandamaze.

SetDesign

ThesetdesignforTrappedinTimefeaturesseverallargepropswhichcometogethertoformagigantic,oversizedclock.It’sdeterioration,andthenit’sreturntoorder,formthebasicarcoftheshowconcept.

Ourmostimportantprops,twomovablestagesonlarge,casterwheels,formthehandsoftheclockandserveasastagingpointforfeaturedgroupsandsoloists.TheclockeffectisfurtherenhancedbyoversizedRomannumeralswhichcanberepositionedastheclockdisintegratesandwearefreedfromtime’s‘trap.’Plansandbuild/leaseoptionsavailablethroughTigerProps.

Optionalfrontscreenpropsalongthesidelineprovideastagingpointforguardequipmentexchanges,furthermakeclearthethemesoftimeanddisorientation,andgraphicallyconnecttothevisualmotifsusedintheguardcostumingandsilks.Sketchedherewithasinglescreenononesideofthepitpercussion,largerguardsmaywanttoconsidertwowithoneoneachside.

Plansandbuild/leaseoptionsavailablethroughTigerProps,aswellashigh-qualitydigitalprinting.

Costuming&FlagDesign

ThecostumingandflagsilksforTrappedinTimeestablishaclearvisualiconographythatdemonstratetheconceptualplotline,furtherdevelopingthethemesalreadyestablishedinthepropandcostumedesigns.

OpenerEffects

TrappedinTimeopenswithallattentionfocusedontheclockfacestagingarea,andthepitpercussiontheonlymusicalvoice.Thehornlineradiatesawayfromtheslowlymovinghandswhilethecolorguardhasthefocus.Whileafeaturedperformerstandsatoptheminutehandposingandgesturing,narrationposesaframingquestion:‘...atthemostfundamentallevel,sciencetellsus,thelawsofnaturearesymmetrical...theyworkaswellgoingbackward...astheydoforward...thearrowoftimethattrapsusisnotafactofnature,butaproductofourownminds...’

Sothen...canweescapeit?’

Meanwhile,thehornlineperformsrepetitive,clockworkbodyworkuntilenteringthedrill.Onthenarrationcue,‘…goingbackward…astheydoforward…’thedrillrespondsbyhavingtwogroupspassthrougheachother,pause,andthencontinueontheirway.

Theguardlayersinwithourfirstsilkgradually,buildingvisualinterest.

Theintrigueoftheopeningscenesculminatesultimatelyinourfirstmajorarrivalpoint.Thefirstfull-ensemblemusicalmomentoftheshowisaccompaniedwithlowerbodychoreographywhilethecolorguarddeliversourfirstfull-silkvisualimpact.

Thepercussionthenbecomesboththevisualandmusicalfocuswhiletherestoftheensemblerestagesforournextscene.Thenarrationposesanotherframingquestion:‘Whatwouldhappen,werewefreefromthetrapoftime?Howwouldtherulesbreakdown?’

Inresponsetothenarration’sintimationof‘rulesbreakingdown,’thehornlineandguardrepositionthepropstosignifythedisintegrationoftheclock.

Thesetisnowtransformed,symbolizingfreedomfromtheconstraintsoftime.EachoftheRomannumeralpropsnowservesasamini-stagingareatobringfocustoadifferentmusicalgroupasdesired.

Similarly,thewoodwindmelodicideaisstagedonthehandsoftheclock,nowusedaswhilethebrass,drums,andguarddrillrevolvesaroundthenowcompletelydeconstructedtimepiece.Thesemultipurposepropsallowustochangetheentirelookofthefieldastheshowprogresses.

BalladEffects

Theclockhandpropscontinuetoshowtheirversatilityintheopeningsegmentoftheballad:abeautiful,lyricsoloforoneofyourstrongestplayers.[Sketchedhereasaflautist,thesolocouldberescoredforseveralinstruments.Allowustocustomizethisshowtofeatureyouruniquestrengths!]

Asthehandslowlyturnswiththesoloistalongfortheride,theguardbeginstolayerinwithourballadsilk.Thisoversized,op-artinspired,swirlingswingflagcreatesahypnoticeffecttomirrorthesensationofbeing‘lost’withouttime.

Finally,thefullensemblebuildsintoaglorious,maestosoarrivalpointasthefullguardspinsandswirlstheeye-catching,disorientingflags.

CloserEffects

Thefinalmovementbeginswithapercussionfocus—visuallyhighlightedbythehandsoftheclock,restagedbypartofthehornline—narrationexplainsthedrivingconceptforthemovement:‘No,weneedtime…anditneedsus…timeisnotatrap,itisaproject!…arealityweconstructourselves…’

Meanwhile—ifweaponsaredesired—thisdriving,percussivemomentistheperfecttimetofeaturethem.Therestoftheguard—ortheentireauxiliaryifnotusingweapons—performssimpledancewiththeRomannumeralsaswebegintoreconstructtheclock.

Asthemusicalvoiceslayerin,thecolorguardbeginstotranslateontotheclosersilk—afullyreconstructedclock,connectingtotheoverallthemeofthemovement.

Finally,theentireensemblebuildstowardsourlastmajorarrivalpoint.Thefullyreassembledclockbywhichwearenolongertrapped,butanintegralpart.

Whileafeaturedguardperformerstandsonthefulcrumofthetwoclockhands—sketchedhereasarifle,butcouldalsobeonaflag—thefinalmaestosostatementofthemusicalthemeismade.Sheremainsthereasthefinalbigdrillmovementoftheprogrampushestothefrontandtheclockhandsrotateexcitedly,bringingTrappedinTimetoitsexciting,triumphantend.

Fin.

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