Mira Calix on Oresteia at the Globe: How it all came together

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My home and passport for 8 weeks – I wrote all the vocal songs prior to rehearsal, as well as all the main themes. I then continued to develop and write more material during the 6 week rehearsal period.

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The actors themselves, had to get used to wearing the speakers, firstly the weight, and then the acoustics – knowing when to listen, and when to ignore the sound, and the physical ‘kick’ of the bass. Here is Greek Chorus member James Lailey – wearing a pack along with props during rehearsal.

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Working with designer Hannah Martin, the T7’s were integrated into the costumes, sometimes in specially built pockets for the radio transmitter and speakers. Here are the lovely gentlemen of the chorus – Dean, Paul and Dennis modelling theirs.

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After weeks in the rehearsal studio – we move to the great outdoors. Here I am following the scores and huddled in my parka. Sitting ominously in the foreground is one of the furies, off duty.

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Sound engineer Dave Meckin sits in a box on the 3rd level for the shows and triggers the electronic instrumentation live.
The musicans are in a box opposite – they’re using one of the T7’s as a monitor. It means they are receiving the same transmission output as the actors on stage and are therefore always in sync. A lot of the score means they are playing alongside electronic parts, both in pitch and tempos, and so making sure all instruments are in sync is crucial.

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Writer Rory Mullarkey and our Greek academic consultant – Lucy Jackson (not in costume) watching rehearsal along with a bloodied Clytemenstra, dazzling Athena and one of the temple attendents

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You can see that the electronics are marked as ‘Tape” cues in the score

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Fortunately the T7’s has a mammoth battery life – and can easily handle a 3 hours performance, on somedays two – but as the shows are not consecutive – we have set up a mega charging station backstage

Read more about Mira’s unique project at the Globe.
Discover more about T7 Wireless speaker.

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